SIISninKWlEllliSflSMUHniSJ 


ROMANESOUE 

ARCHITECTURE 

IN  FRANCE 

DITED,  AND  WITH  AN  INTRODUCTION 

BY 

.;■',  .fULIUS  BAUM 

LONDON.  WlbLlAM  HEINEMANN. 


r 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 

GIFT  OF 

R.  B.  Ktjrzon 


k 


ROMANESQUE  ARCHITECTURE 
IN  FRANCE 


ROMANESQUE 
ARCHITECTURE 

IN  FRANCE 

EDITED,  AND  WITH  AN  INTRODUCTION 

BY 

DR  JULIUS  BAUM 


NEW  YORK 
E.  P.  DUTTON  &  Co. 

1912 


Jic^J 


3 '' '' 


2)3: 


'j,f 


ROMANESQUE  ARCHITECTURE 

IN  FRANCE 


A  total  misconception  of  the  art  of  the  Middle 
Ag-es  must  result  from  a  failure  to  appreciate 
the  fact  that  no  problem  in  this  art  was  considered 
more  important  than  the  creation  of  an  interior. 
Our  latter-day  preoccupations  —  that  element,  to 
which  modern  interest  seems  to  be  limited  —  the 
imitation  of  Nature,  was  perfectly  insignificant  to 
the  mediaeval  artist.  To  him  it  seemed  self-evident 
that  painting-  and  sculpture  were  absolutely  subor- 
dinate to  architecture,  that  these  could  only  be 
used  as  applied  or  decorative,  never  as  independent 
arts.  The  artistic  aims  of  the  Middle  Ages,  never 
complex  and  divergent  as  our  own  are,  were 
directed  in  perfect  singleness  of  mind  upon  one 
idea:  that  of  the  treatment  of  interiors,  and  as  a 
necessary  corollary,  of  their  architectonic  barriers. 
A  centrally  planned  building  had  been  the 
highest  ideal  of  architecture  in  all  ages  when  a 
truly  architectonic  sense  had  obtained.  It  realises 
all  ideals:  "Absolute  unity  and  symmetry,  perfect 
proportion  and  gradation,  harmonious  elaboration 
within  and  without,  and  the  best  disposition  of 
light  possible."  Roman  architecture  had  already 
achieved  an  almost  unsurpassable  standard  of 
excellence  in  such  buildings  as  the  Pantheon,  the 
Rotunda  in  the  Baths  of  Diocletian,  and  the 
Temple  of  Jupiter  at  Spalato.  An  aspiration  towards 
the  beauty  of  antique  interiors  was  all  that  surviv- 
ed throughout  the  Christian  Middle  Ages.  Its 
realisation  was  only  accomplished  at  the  Renais- 
sance, in  Bramante's  and  Michelangelo's  designs  for 
S.  Peter's. 

The  history  of  Medi£eval  Architecture  is  that 
of  the  struggle  between  a  mighty  artistic  idea  and 
the  convention  born  of  the  practical  requirements  of 
public  worship.  The  church  —  and  this  was  practically 
the  only  building  in  question  at  a  period  when 
lay  architecture  was  comparatively  negligible  as 
an  artistic  quantity  —  had  ceased  to  be  the  dwelling 
of  the  divinity  in  the    antique  concrete  sense.     It 


had  become  rather  the  temple  of  the  Unseen,  and 
its  real  inhabitants  were  the  priests  and  the  con- 
gregation. The  natural  consequence  of  this  two- 
fold function  in  Western  Christendom  was  the 
basilica.  We  need  not  here  enquire  into  its 
evolution.  It  will  be  sufficient  to  say  that  it 
consisted  of  a  rectangular  hall  with  three  or  five 
aisles,  the  central  nave  rising  above  the  side  aisles, 
lighted  by  windows  in  its  upper  walls,  and  termi- 
nating in  a  semi-circular  apse.  Sometimes  a  narrow 
transept  intervened  between  nave  and  apse.  The 
church  was  invariably  approached  through  a  portico 
or  narthex.  The  apse  belonged  to  the  clergy, 
and  the  nave  to  the  laity,  save  in  so  far  as  it 
was  curtailed  by  a  screen  for  the  separation  of 
the  officiating  priests.  A  very  powerful  effect 
was  unquestionably  produced  in  the  basilica  by 
the  concentration  of  the  beholder's  mind  on  the 
darkened  apse,  not  only  by  means  of  the  general 
plan,  but  by  the  further  accentuation  of  ths-t  plan 
in  the  perspective  of  columns  and  windows.  But 
this  effect  was  not  comparable  for  harmony  with 
that  of  the  circular  church.  Recognising  this,  the 
architects  of  the  Middle  Ages,  when  untrammelled, 
made  recurrent  attempts  to  transform  the  basilica 
into  the  centrally  planned  church,  and  produced 
hundreds  of  compromises,  which  were  very  rarely 
perfect  achievements.  An  ideal  result  was  only 
attained,  when  the  builder  was  able  to  follow  his 
artistic  impulse,  regardless  of  the  exigencies  of 
public  worship;  thus  San  Lorenzo  in  Milan,  which 
grew  out  of  an  antique  building,  was  one  of  the 
most  magnificent  creations  in  the  world,  and  until 
the  erection  of  S.  Peter's,  probably  the  most 
beautiful.  It  is  important  to  know  that  the  men 
of  the  Middle  Ages  were  perfectly  conscious  of 
the  splendour  of  this  building.  "Numquid  est  in 
toto  mundo  aula  tam  mirabilis?"  wrote  Benzo 
of  Alba  in  the  eleventh  century  (to  Henry  IV; 
Pertz  XIll,  680) ,    and  there    is   no   lack   of   similar 


V 


1081284 


testimony.  Early  Christian  art  had  always  achieved 
grandeur  in  baptisteries  and  sepulchral  churches, 
such  as  San  Giovanni  in  Fonte,  Santa  Costaiiza 
and  San  Stefano  Rotondo  in  Rome,  and  the 
memorial  churches  in  Jerusalem,  which  were  so 
closely  akin  to  the  last-named.  In  all  these  examples, 
we  have  a  domed  building-  with  an  ambulatory, 
of  a  richer  type  than  the  simple  cylindrical  Pantheon. 
At  a  later  period,  this  plan  was  reproduced  in 
certain  isolated  instances,  and  even  in  the  North 
there  are  a  few  examples,  such  as  S.  Michael  at 
Fulda.  France  possessed  a  very  imposing-  rotunda 
of  this  type  in  S.  Benigne  at  Dijon,  and  a  kindred 
building  in  the  Church  of  Charroux  in  Poitou,  of 
1050  (PI.  6,  7),  the  outer  ambulatory  of  which  is 
destroyed ;  a  tower  rises  over  the  central  part  of 
the  rotunda.  France  produced  little  else  of  impor- 
tance in  this  genre;  all  her  efforts  were  directed 
to  the  development  of  the  aisled  and  vaulted  church. 
In  Neuvy-Saint-Sepulchre  (Indre),  begun  in  1045 
(PI.  5),  we  still  find  the  domed  design  with  the 
circular  ambulatory,  while  Saint-Michel  d'Entraigues 
(Charente)  begun  in  1137  (PI.  1  and  2),  and 
Montmorillon  (Vienne),  are  octagonal  on  plan,  and 
have  ribbed  vaults.  Montmajour  in  the  South, 
built  in  1016,  a  cube  with  four  apses,  and  in  the 
West  the  churches  at  Quimperle  (PI.  8)  and  Lanleff, 
may  be  mentioned  as  circular  buildings  of  the 
simplest  kind. 

II 

The  type  of  Saint-Michel  d'Entraigues  is  merely  a 
simplification  of  a  centrally  planned  building, 
which  had  already  reached  its  highest  development 
in  the  early  Christian  art  of  the  East.  The  original 
form  was  found  in  an  antique  building,  the  temple 
of  Minerva  Medica  in  Rome.  The  chief  characteristic 
of  the  type  was  the  piercing  of  the  massive  encircling 
walls  with  great  niches,  which  in  their  turn,  open 
in  arcades  to  an  outer  ambulatory,  as  in  the  most 
famous  buildings  of  this  group,  the  Churches  of  Scr- 
gius  and  Bacchus,  of  Santa  Sophia  at  Constantinople, 
of  San  Vitale  at  Ravenna,  and  Charlemagne's 
palace-chapel  at  Aix-la-Chapelle.  San  Lorenzo  at 
Milan  also  belongs  to  the  same  family.  This  motive, 
which  re-established  the  affinity  with  the  type  men- 
tioned above,  is  absent  in  Saint-Michel  d'Entraigues; 
this  church  however,  retains  a  feature  equally 
important  to  the  effect  both  of  exterior  and  interior: 
the  projecting  apses. 

A  third  type  of  the  central  plan   must   also  ho 
mentioned:    the   Greek    cross,    consisting    of   four 


equal  arms  with  a  central  cupola.  The  simplest 
example  of  this  type  is  to  be  seen  in  the  sepulchral 
Church  of  Galla  Placidia  at  Ravenna.  Akin  to 
this  wcie  the  Baptistei-y  of  Venasque  (Vaucluse) 
[PI.  3],  and  the  Baptistery  of  Valence  (Drome), 
only  the  ground  plan  of  which  has  survived. 

A  richer  form  of  this  plan  is  produced  when 
a  rectangular  or  square  space  is  divided  by  four 
supports  into  nine  fields,  the  central  field  dominating 
the  structure  and  the  four  corner  fields  entirely 
subordinated.  This  arrangement  is  adopted  in  the 
Hagia  Theotokos  at  Constantinople,  San  Satiro 
in  Milan,  the  Martorana  in  Palermo,  San  Fosca 
in  Torcello,  and  Germigny-des-Pres  (Loiret)  [PI.  4]. 
It  is  brought  to  its  greatest  perfection  when  the 
four  useless  corner  fields  are  suppressed,  as  in  San 


Perig-ueux,  Saint-Front,  Ground-plan. 

The   Greek  eross  as  a  development  of  the  domed  aidic  church. 

Marco  at  Venice  (1043—1085),  and  Saint-Front 
at  Perigueux.  In  each  of  these  cases,  the  supports 
are  not  compact  masses,  but  groups  of  four  pillars 
connected  by  arches,  their  intervening  spaces  being 
crowned  by  small  cupolas.  The  opposite  pillars 
are  connected  by  barrel  vaults,  which  serve  as  a 
belt  for  the  pendentives  of  the  five  cupolas.  The 
Venetian  arrangement  is  clearly  derived  from  early 
Christian  and  Byzantine  models.  Saint  Front,  on 
the  other  hand,  is  only  to  be  explained  as  a  result 
of  the  utmost  tension  of  an  artistic  will  bent  on 
the  highest  achievement  possible.  We  shall  consider 
in  the  following  pages  how  this  church  grew  out  of  its 
surroundings. 

Ill 

But  before  we  address  ourselves  to  this  task,  we 
must    take    a  rapid    survey    of  the  general  de- 
velopment of  Romanesque  Art  in  France. 


VI 


The  fame  of  France  as  the  land  of  the  rise 
and  development  of  Gothic  art  long-  stood  in  the 
way  of  a  just  appreciation  of  her  early  mediaeval 
monuments.  It  is  true  that  French  Romanesque 
never  became  the  exemplar  for  all  Europe  as  did 
French  Gothic.  But  this  was  by  no  means  because 
of  the  insig-nificance  of  the  art;  it  was  due  to  the  fact 
that  down  to  the  twelfth  century,  each  European 
people  was  capable  of  independent  creative  work. 

In  the  early  Christian  period,  Italy  produced 
beautiful  buildings  on  the  central  plan,  and  the 
flat-roofed  type  of  basilica;  later,  severe  Tuscan 
facades  of  the  Pisan  and  Florentine  types,  and 
finally,  the  noble  vaulted  basilicas  of  Lombardy, 
with  their  tendency  to  a  centrally  planned  choir, 
and  their  harmoniously  proportioned  facades.  Ger- 
many created  the  ideal  form  of  the  Latin  cross, 
in  which  nave  and  transepts  were  of  equal  width; 
its  predominant  feature,  on  plan,  was  the  square 
crossing,  which  was  repeated  in  the  choir  rising 
above  a  crypt,  and  now  removed  further  eastwards, 
in  the  transepts,  and  also  in  the  subdivisions  of 
the  nave;  the  side-aisles  were  half  the  width  of 
the  nave.  Germany  was  also  the  country  which 
developed  the  double-choired  basilica,  a  type  of 
somewhat  dubious  beauty,  which  may  be  explained 
rather  by  its  adaptability  to  practical  requirements 
than  by  any  desire  to  approximate  the  basilica 
to  the  centrally  planned  building.  Finally,  the 
most  intense  aspirations  towards  a  development 
of  vaulting  originated  in  Germany.  The  Rhine 
was  to  Germany  what  Lombardy  was  to  Italy. 
The  first  cross-vaulted  cupolas  were  achieved  at 
Spires  and  Mayence,  and  Cologne  brought  forth 
that  magnificent,  many-towered  triple-bayed  choir,  in 
which  German  architecture  most  nearly  approaches 
the  ideal  of  all  structural  art. 

In  France ,  the  evolution  of  early  mediaeval 
architecture  was  almost  richer  and  more  magnificent 
than  in  Italy  and  Germany.  The  various  races 
which  formed  the  population  were  still  sharply 
divided.  The  strongest  contrast  reigned  between 
the  preponderatingly  Germanic  North,  the  region 
of  the  Langue  d'oVl,  and  the  Romanesque  South, 
the  land   of  the   Langue  d'oc. 


IV 


The  art  of  the  North  had  a  most  promising 
beginning.  A  double-choired  basilica  made  its 
appearance  at  Centula  (Saint-Riquier)  earlier  than 
any   such   church    in    Germany.     This  noble  abbey 


was  built  from  793 — 798.  The  kindred  ruin  of 
Alet  seems  to  be  even  earlier.  This  type  was, 
however,  speedily  abandoned  in  Northern  France. 
But  another  form  evolved  in  Northern  France 
persisted  for  centuries  as  one  of  the  most  purely 
Gallic  types:  it  is  that  in  which  the  side-aisles 
were  continued  round  tiie  sanctuary,  forming  an 
ambulatory  opening  into  tlie  choir  by  an  arcade, 
on  the  one  side,  and  on  liic  other,  into  radiating 
semi-circular  chapels.  This  motive,  which  was  perhaps 
evolved  by  the  combination  of  two  types  of  centrally 
planned  buildings,  first  appeared  in  the  9"'  century, 
in  Saint -Martin  at  Tours.  It  was  soon  adopted 
over  a  very  wide  area,  being  repeated  in  the 
famous  pilgrimage  churches  of  Saint-Remi  at  Reims 
(1005  —  1049),  Saint-Hilaire  at  Poitiers  (consecrated 
in  1049)  [PI.  Ill],  Saint-Sernin  at  Toulouse,  as  well 


,  Ground-plan   of   Saint-Seinin,   Toulouse. 

Mve-aislcd    cruciform    church     with    triforium    and    barrel-vaulted    nave    of  the 
Auvergnate  type.    Choir  with  ambulatory  and  chapels,  on  the  model  of  Saint- 
Martin  at  Tours. 


as  in  many  Auvergnate  churches.  But  whereas 
in  the  South,  this  ground-plan  was  soon  perfected 
by  the  vaulting  so  essential  to  the  system,  the 
North  still  clung  to  the  flat  roof,  and  this  even 
in  the  single-aisled  church  as  well  as  in  the  three- 
aisled  basilica.  Among  flat-roofed  single-aisled 
churches,  which  occur  most  frequently  on  the 
boundaries  of  the  region  in  which  the  barrel-vaulted 
ch'jrch  predominated  (in  other  words,  to  the  north 
of  the  western  Loire  on  the  one  side,  and  in  Provence 
on  the  other),  the  most  notable  are:  Saint-Generoux, 
Cravant,  Savennieres  [PI.  9],  Beaulieu-les-Loches 
(1008 — 1012)  and  Saint-Pierre  at  Vienne.  Among 
basilicas,  Saint- Martin  at  Tours  ranks  first.  The 
vaulted  naves  of  Saint-Rtjmi  at  Reims  and  of  Saint- 
Benoit-sur-Loire  were  originally  flat-roofed.  The 
vaulting  of  side-aisles  was  adopted  at  an  early 
date,  and  therewith  the  substitution  of  piers  for 
pillars.    Triforia  occur  occasionally  in  Champagne, 


Vll 


even  at  an  early  date,  when  as  yet  there  was  no 
intention  to  vault,  as  in  Saint-Remi  at  Reims 
[PI.  212],  Vignory  [Plate  151],  and  Montier-en-Der. 
Burgfundy  and  Normandy,  the  two  regions  most 
deeply  impregnated  with  German  ideas,  were  the 
only  provinces  which  for  a  time  resisted  the  adoption 
of  the  choir- ambulatory  with  radiating  chapels. 
Burgundy  created  a  type  in  the  rebuilding  of  the 
Abbey  of  Cluny  in  981,   which  differed  from  the 


Ground-plan  of  Saint-Georg-es  at  Saint-Martin-de-Bosclierville. 

Cruciform  basilica  with  choirs  in  the  aisles,  and  a  flat-roofed  nave. 
Second  Cluniac  Type. 


German  Latin  cross  only  in  that,  suppressing  the 
crypt,  it  added  to  the  main  choir  several  subsidiary 
choirs  terminating  for  the  most  part  in  apses,  enriched 
the  transepts  also  with  apses  on  the  east,  and  the 
west  front  with  a  deep  portico  between  the  two 
flanking  towers.  Its  likeness  to  the  German  type 
caused  this  arrangement  to  be  readily  accepted 
in  Germany,  where  its  was  first  introduced  at  the 
Cluniac  settlement  at  Hirsau.  Outside  Burgundy, 
it  is  frequently  found  in  the  Cluniac  abbeys  of 
Normandy,  as,  for  instance,  at  Bernay,  where  the 
plan  of  the  church  corresponds  exactly  with  that 
of  Hirsau.  Cluny  itself  was  the  first  to  deviate 
from  its  own  ideal;  when,  in  1089  it  was  rebuilt 
for  the  third  time,  the  choir-plan  of  Saint-Martin 
at  Tours  was  adopted,  and  this  re-appears  in 
several  of  the  daughter-churches  of  Cluny ,  such 
as  Paray-le-Monial  [PI.  169].  La  Charite-sur-Loire 
[PI.  171]  and  Saint-Benoit-sur-Loire  [PI.  157],  where- 
as the  ancient  Cluniac  type  was  perpetuated  with 
some  slight  modifications  by  the  Cistercian  order, 
which  was  an  offshoot  of  Cluny.  The  second  Cluniac 
type  was,  it  is  true,  occasionally  applied  even  to  a 
cathedral  in  its  native  region,  but  it  soon  predominated 
to  the  exclusion  of  all  others  in  Normandy.  The 
Latin  cross,  with  its  flat-roofed  adjoining  choirs 
was  to  be  found,  for  instance,  not  only  in  La- 
Sainte-Trinite  [PI.  203]  and  Saint-Nicolas,  but  also 
in  the  original  plan  of  Saint-Etienne  [PI.  202]. 
Nevertheless,  from  the  very  beginning  the  vault 
was  the  objective  of  the  Normans,  in  contrast  to 
the  Burgundians.  Thus  in  Normandy,  as  in  Lombardy, 


the  Iriforium  is  an  unfailing  feature,  designed  to 
re-inforce  the  walls  against  the  pressure  of  the 
vaults  which  were  not  as  yet  executed.  Examples: 
Jumieges  (1040—1067)  [PI.  205],  and  Saint-Etienne 
at  Caen   (c.  1063-1077)   [PI.  202]. 


w: 


V 


'^hereas  neither  Northern  France  nor  Ger- 
many could  free  themselves  from  the  bondage 
of  the  basilican  form,  and  applied  all  their  powers 
to  develop ,  to  enrich ,  and  finally  to  give  it  a 
monumental  character  by  means  of  vaulting,  the 
happier  South  contrived  to  keep  entire  liberty  in 
relation  to  the  formal  arrangement  of  its  churches. 
Nowhere  has  the  classical  spirit  survived  so 
uninterruptedly  as  in  the  Mediterranean  regions 
between  the  Rhone  and  the  Garonne,  from  Provence 
to  Aquitaine.  Here  stand  some  of  the  finest 
ancient  Roman  buildings,  unharmed  by  the  storms 
of  the  4"'  and  5""  centuries ;  artists  had  the  stimulus 
of  existing  masterpieces,  urging  them  to  create 
others.  It  would  seem  that  in  the  South,  the 
Roman  method  of  vaulting  by  means  of  barrel 
vaults  and  cupolas  was  never,  or  at  any  rate,  only 
very  temporarily  abandoned.  It  was  applied  in 
a  perfectly  independent  manner;  the  oblong  nave 
was  recognised  as  the  one  essential  to  a  building 
for  public  worship;  but  neither  the  multiplication 
of  aisles,  nor  the  additional  height  and  the  auto- 
illumination  of  the  nave  in  the  tri-aisled  plan  were 
held  to  be  necessary  features.  As  early  as  the 
year    1000,    single-aisled,    barrel-vaulted    churches 


Ground-plan  of  Notre-Dame,    Saiimnr. 

Sin^le-aisicd,    harrel-vauUcd  church  with  transept  and 
tower  over  crossing. 

of  the  type  brought  into  favour  again  by  Vignola 
in  the  Gesii  Church  over  five  hundred  years  later, 
and  three-aisled  barrel-vaulted  churches  were  alike 
familiar  types.  In  these  grandiose  monumental 
buildings,  the  use  of  wood  is  so  entirely  excluded, 
that  even  the  roofs  were  formed  of  stone  slabs. 
I  he  barrel-vaults  are  groined,  the  walls  are  extra- 
ordinarily massive,  the  windows  —  which  are  pierced 
in  the  vertical  walls  and  not   in  the  barrel  —  are 


VIII 


small,  but  the  proportions  (jf  tlie  interior,  at  least 
in  Provence,  are  truly  noble.  The  following  are 
fine  examples  of  such  Proven(;al  churches:  Notre- 
Dame-des- Domes  at  Avignon,  the  Cathedral  at 
Orange,  and  the  Churches  of  Maguelonnc  and 
Digne  [PI.  10].  The  largest  building  of  this  type 
is  the  Cathedral  of  Toulouse,  which  was  finished 
in  the  Gothic  style.  In  Aquitaine,  the  single  aisle 
is  often  enriched  by  the  addition  of  a  transept 
with  a  tower  over  the  crossing,  as  at  Courcome 
[PI.  21],  Montmoreau  [PI.  20]  ant  Notre  Dame  at 
Saumur.  Sometimes  there  are  no  windows  in  the 
walls,  and  the  church  is  illuminated  only  by  the 
cupola. 

In  the  same  region,  but  extending  northward 
into  Poitou  and  towards  the  Middle  Loire,  we 
find  the  three-aisled  barrel-vaulted  basilicas,  often 
with  half  barrel- vaulted  side-aisles.  We  will  mention 
only  the  most    important  of   these  very   numerous 


Poitiers  Notre-Dame-la-Grande,  Transverse  Section. 

Three-aisled  banel-vaulted  basilica.      Choir  and   ambulatory 
witir  radiating  chapels. 

examples:  Saint  Martin  d'Ainay  at  Lyons  [PI.  28], 
the  Cathedrals  of  Valence  and  Vaison  in  Provence, 
Saint  Nazaire  at  Carcassonne,  and  the  Cistercian 
Abbeys  of  Elne  and  Fontfroide  [PI.  33],  in  Southern 
Languedoc;  Bussiere-Badil  [PI.  56]  in  Perigord 
[PI. 56];  in  Poitou,  thefamous  Notre-Dame-la-Grande 
[PI.  37]  and  Sainte  Radegonde  at  Poitiers;  and 
almost  all  the  more  important  country  churches 
of  this  district.  As  in  the  single-aisled  churches, 
so  also  in  the  basilicas,  there  are  notable  differences 
between  those  in  the  Mediterranean  provinces  and 
those  of  the  western  territory. 

The  former  are  spacious;  the  nave  in  particular 
is  kept  as  wide  as  possible,  and  the  dividing  arches 
between  nave  and  aisles  are  large  and  lofty,  allowing 
an  adequate  illumination  of  the  whole  church.  The 
Celtic  West  preferred  dark,  narrow  interiors.  In 
the  South,  the  three  aisles  usually  terminate  in 
apses,  sometimes  with  an  intervening  transept. 
On  the  Atlantic  coast,  a  preference  was  shown 
for  the  elaborated  cruciform  type,  with  small  apses 


in  the  transepts;  in  Poitiers  and  certain  other 
places  in  the  neighbourhood,  we  further  find  the 
choir  ambulatory  with  chapels,  probably  derived 
from  Saint   Martin   at   Tours,    as  in   NotrcDame-la- 


Lyons.    Saint-Martin   d'Ainay,  Transverse  Section. 

Three-aisled,  barrel-vaulted   basilica. 

Grande  at  Poitiers,  and  Saint  Pierre  at  Chauvigny. 
In  Auvergne,  the  system  of  the  barrel-vaulted 
three-aisled  church  underwent  an  important  modi- 
fication. Galleries  were  built  over  the  side-aisles; 
the  character  of  the  interior  was  thus  again  approxi- 
mated more  nearly  to  that  of  the  antique  basilica. 
The  choir  had  an  ambulatory  with  radiating  chapels, 
on  the  plan  of  Saint-Martin  at  Tours.  The  transept, 
with  its  five  severies,  rose  majestically  in  the  width 
of  the  nave  and  a  tower  with  a  cupola  crowned  the 
crossing.  The  east  ends  of  such  churches,  which 
generally  stand  on  open  rising  ground,  thus  produce  a 
magnificent  effect  of  mass.  In  the  nave,  the  vault- 
ing of  which  springs  directly  from  the  triforium 
without    any    entablature,    there    are    always    piers 


Lyons.     Saint-Martin   d'Ainay,   Ground-plan. 

Three-aisled  barrel-vaulted  basilica. 


and  in  the  ambulatory,  pillars.  Notre-Dame-du- 
Port  at  Clermont-Ferrand  [PI.  65],  is  perhaps  the 
purest  example  of  this  type;  the  churches  of  Saint 
Paul  at  Issoire  [PI.  68] ,  Saint  Saturnin  [PI.  69), 
and  Chauriat  [PI.  70]  are  kindred  buildings.  Saint 
Sernin  at  Toulouse  is  the  best  proportioned  building 


IX 


of  the  kind  in  the  South  outside  Auvergne,  though 
it  lacks  the  characteristic  loftiness  of  the  transepts; 
in  conclusion,  we  may  cite  the  Abbey  Church  of 
Conques    [PI.  76],    an    imitation    of    Saint    Sernin. 


Clermont-Ferrand.      Transverse   Section   of 
Notre-Dame-du-Port. 

Tliree-aisled   barrel-vaulted  church   with   gallery. 
Choir  with  ambulatory  and  chapels. 

VI 

The  barrel-vaulted  church,  especially  the  single- 
aisled  type,  with  its  excellent  proportions  and 
the  vjo-orous  unity  of  its  interior  effect,  no  doubt 
realised  to  a  very  high  degree  the  Southern  ideals  of 
grandeur  and  solidity;  but  these  were  first  fully 
satisfied  by  domed  architecture.  In  the  majestic 
nature  of  the  cupola  we  may  recognise  the  desire 
for  autocracy,  for  monarchical  domination.  It  de- 
mands the  central  plan.  But  the  exigencies  of 
public  worship  made  it  impossible  to  combine  these 


Cahors.     Cathedral,   Groinid-plan. 

Sinjrlf-ai.sled   doiiied   church. 

two  features.  It  became  necessary  therefore  to 
effect  a  compromise  again,  between  the  oblong 
building,  and  the  centrally  planned  structure.  It 
must  be  admitted  that  the  Aquitainians  solved  the 
problem  of  the  fusion  of  these  two  elements  in 
a  very  happy  manner.  They  covered  the  single- 
aisled  building  —  for  this  was  almost  exclusively 
the  type  with  which  they  had  to  deal  —  with  a 
series  of  cupolas  in.stead  of  a  continuous  barrel- 
vault.  By  this  means  they  not  only  secured  a 
more  spacious  interior,  but  emphasised  the  structural 
divisions.    The  simplest  type  of  such  treatment  is 


represented  by  Saint  Etienne  at  Perigueux  [PI.  79], 
Cahors  [PI.  80],  Gensac  [PI.  82],  Sainte  Radegonde 
at  Poitiers,  the  Cathedral  of  Saintes,  and  Saint- 
Leger  at  Cognac  [PI.  81].  A  centralising  tendency 
is  already  manifest  in  the  single-aisled  churches 
with  transepts,  the  finest  of  which  are  the  Cathedral 
at  Angouleme,  and  the  churches  of  Solignac  [PI.  85] 
and  Souillac  [PI.  86].  The  highest  perfection  of 
this  type  is  only  achieved,  however,  when  the 
crossing  is  made  the  centre  of  the  whole  plan, 
which  thus  receives  the  form  of  the  Greek  cross. 
Saint-Front  at  Perigueux  was  evolved  at  the  end 
of  the  11"'  century,  the  most  beautiful  domed 
church  of  the  West,  all  the  more  perfect  for  the 
absolute  simplicity  of  its  proportions,  the  final 
expression  of  an  organic  development,  and  yet 
almost  inexplicable,  unless  we  admit  some  inter- 
change of  influences  between  Perigueux  and  the 
distant  San  Marco. 

The    centralising   tendencies   of   the   Dordogne 
are    in    contrast    to   the    not    altogether   successful 


Angouleme.     Cathedral,   Groimd-plan. 

Sinifle-aislcil,  cruciform  domed  church. 

attempts  to  adapt  the  cupola  to  the  many-aisled 
basilica  which  were  made  in  the  borderlands  of 
Aquitdine.  The  two  most  important  buildings  of 
this  kind  are  Notre  Dame  at  Puy  [PI.  107]  a  cruci- 
form basilica,  and  Saint-Hilaire  at  Poitiers  [PI.  Ill], 
originally  a  very  wide,  three-aisled  basilica  with 
an  ambulatory  and  a  flat  roof,  now  transformed 
into  a  church  with  seven  aisles,  the  nave  crowned 
with   cupolas. 

VII 

In  its  barrel-vaulted  basilicas  and  in  its  domed 
churches  the  South  produced  interiors  of  a  grandeur 
and  harmony  of  proportion  scarcely  cc|ualled 
elsewhere  in  Europe  throughout  the  eleventh  and 
twelfth  centuries.  The  North  has  nothing  comparable 
to  the  finest  of  these  creations;  but  in  the  vaulted 
basilica  it  created  a  type  better  adapted  for  public 


X 


worship,  and  within  its  limits,  more  susceptible  of 
artistic  development,  a  type  which  in  the  sec|uel, 
also  became  predominant  in  the  Mediterranean 
district. 

In  Provence,  indeed,  the  basilica  appears  at 
a  comparatively  early  date.  One  of  the  earliest 
buildings  of  the  kind  is  the  barrel-vaulted  Saint- 
Guilhem-du-Desert;  others   of  the  twelfth    century 


problem  was  an  independent  achievement,  as  the 
highly  interesting  abbey  church  of  Saint  Philibert 
at  Tournus,  one  of  the  earliest  buildings  of  the 
group,  sufficiently  shows;  for  here  we  find  every 
variety  of  vaulting  side  by  side,  just  as  if  the 
builder  had  wished  to  try  them  all;  the  nave  has 
a  transverse  barrel-vault,  the  choir,  which  is  akin 
to  that  of  Vignory,   has  a  longitudinal  barrel-vault. 


rf       p 


Cluny.      Abbey-Church,   Ground-plan. 

Five-aisled   cruclfmrn    basllira  wilh  barrel-vaulted  nave,  choirs  in  the  side-aisle.s,  and   ambulatory  with  radiating  chapels. 

Original  form  of  the  third   Cluniac  type. 


are:  Saint  Trophime  at  Aries,  Saint-Paul-Trois 
Chateaux,  La  Garde-Adhemar,  all  three  with  re- 
markably massive  piers  supporting  the  wide  arches 
between  nave  and  aisles,  and  half-barrel  vaults 
over  the  side-aisles;    finally,  the  Church  of  Saint- 


Nevers.      Saint-Etienne,   Ground-plan. 

Three-aisled  cruciform   basilica  with  galleries  and  barrel-vaulted 
nave,  of  the  Auverg-nate  type. 

Gilles ,  begun  in  1116,  and  vaulted  after  1261. 
These  churches  were,  however,  isolated  phenomena. 
The  true  home  of  the  barrel-vaulted  basilica  was 
Burgundy.  Here,  unquestionably,  the  idea  of 
Aquitainian  and  Auvergnate  barrel-vaulting  was 
appropriated,  as  may  be  seen  in  Saint-Etienne  at 
Nevers,  which  has  also  the  Auvergnate  triforium; 
but,    for    the    rest,    the    brilliant    solution    of    the 


the  side  aisles  are  cross-vaulted,  the  crossing  is 
crowned  by  a  dome.  In  the  lengthy  choir  of 
Saint  Benoit-sur-Loire,  the  east  part,  built  over 
the  crypt  in  1062,  is  entirely  barrel-vaulted;  the 
nave  to  the  west  was  probably  not  barrel-vaulted 
until  after  a  fire  in  1095.  Saint  Genou  is  an 
imitation  of  this  church.  The  third  restoration  of 
the  abbey-church  of  Cluny  (from  1088),  comprised 
barrel-vaulting  in  the  nave.  Its  example  was  followed 
by  a  large  number  of  neighbouring  churches,  such 
as  Paray-le -Monial,  La  Charite-sur-Loire ,  and 
Saint-Lazare  at  Autun,  the  purest  example  of  the 
group,  completed  in  1147.  Like  the  second  type 
of  Cluny,  this  third  restoration  was  closely  akin 
to  the  primitive  type  of  the  early  Christian  basilica. 
The  triforium,  so  indispensable  to  the  Lombard 
and  Norman  variations;  was  renounced,  as  was  the 
symmetrical  German  system  and  the  rhythmic  variation 
of  the  supports;  with  regard  to  the  details,  it  is 
worthy  of  remark,  that  side  by  side  with  forms 
of  severe  classical  feeling,  the  pointed  arch  also 
makes  its  appearance,  an  unusual  phenomenon  in 
purely  Romanesque  buildings.  More  positive 
characteristics  of  the  Burgundian  style  are:  the 
vaulting;  barrel-vaults  in  the  nave,  cross-vaults 
in  the  side  aisles;  the  blind  triforium  between  the 
arches  and  windows  of  the  nave,  and  in  general, 
an  ambulatory  with  radiating  chapels. 


XI 


VIII 

The  longitudinal  continuous  barrel-vault  is  of 
all  forms  of  vaulting-  that  which  is  most  sug- 
gestive of  the  antique  origin  of  the  basilica. 
The  powerful  enclosing  effect,  inherent  in  the 
reposeful  demi-cylinder,  makes  it  the  ideal  covering 
for  a  many-aisled,  oblong  interior.  On  the  other 
hand,  it  has  technical  defects ;  it  exercises  a  severe 
uniform  lateral  pressure,  and  permits  only  of  narrow 
apertures  in  the  walls.  These  embarrassing  results 
are  obviated  by  the  use  of  cross-vaulting.  From 
the  moment,  accordingly,  that  a  desire  for  stronger 
illumination  and  a  comprehension  of  the  statical 
security  of  the  vaulted  basilica  were  combined 
with  delight  in  the  monumental  construction  of 
the  roof,  cross-vaulting  became  inevitable.  This 
was  recognised  simultaneously  on  the  Rhine,  in 
Lombardy,  in  Normandy  and  in  Burgundy.  In  all 
these  regions,  architects  successfully  harmonised 
the  effect  produced  by  the  structural  relation  and 
rhythm  of  the  supported  and  supporting  members, 
(now  much  more  apparent  than  in  flat-roofed  or 
bairel-vaulted  buildings),  with  the  restful  effect  of 
the  interior. 

In  Burgundy,  however,  the  cross-vaulted  basilica 
occurs  only  occasionally.  The  earliest  example 
is  the  Cathedral  at  Langres,  dating  from  the  middle 
of  the  12"'  century.     The   imposing   abbey-church 


Caen.    Transverse  Section   of  Saint-Etienne. 
Thrcc-aisletl  crucifcjrm  h.isilic.1  with  Jfalleries  and  oross-vaults. 

of  Vezelay  [PI.  183],  is  of  the  same  period;  and 
the  churches  of  Anzy-le-Duc  and  Saint-Lazarc  at 
C^vallon  [PI.  144],  two-storeyed  structures  without 
triforia,  are  derived  from  Vczclay.  The  nave  of 
Saint-Aignan  is  of  the  same  character.  On  the 
other  hand,  Sainl-Laumcr  at  Blois  and  the  nave 
of  the  Cathedral   of  Le  Mans,   dedicated  in   1158 


[PI.  185]  to  quote  examples  from  among  the  few 
remaining  cross-vaulted  basilicas  of  western  central 
France,  have  the  three-storeyed  arrangement. 

But  whereas  the  cross-vaulted  basilica  remained 
an  isolated  phenomenon  in  Burgundy  and  central 
France,    Normandy   was   deliberating  working   out 


Caen.    Ground-plan  of  La-Sainte-Trinite. 

Tliree-aisled  cruciform  basilica  galleries  and  cross-vaults.     The  plan 
of  the  choir  inspired  by  the  second  Cluniac  type. 

a  system  of  vaulting  by  means  of  the  symmetrical 
method  and  the  triforium  plan.  The  first  Norman 
cross-vaults  occur  in  Saint  Nicholas-des-Champs  at 
Caen  (1083)  and  Saint  Georges  at  Saint-Martin- 
de-Boscherville  [PI.  200].  La-Sainte-Trinite  and 
Saint  Etienne  at  Caen  [PI.  204  and  202],  Ouistre- 
ham  [PI.  201]  and  Bernieres  [PI.  198]  date  from 
the   12"'  century. 

The  groined  cross-vault  had  manifested  its 
superiority  to  the  barrel-vault,  in  that  it  permitted 
the  architect  to  carry  the  attack  of  the  side-thrust 
further  down;  but  the  full  value  of  the  cross- 
vault  was  first  apparent  when  salient  ribs  were 
introduced,  arranged  in  each  bay  in  groups  of 
four  boundary  arches  and  two  diagonal  arches, 
which  assumed  the  weight  of  the  vault  and  conducted 
it  to  the  points  of  support  at  each  angle.  This 
importance  of  the  ribs  was  early  recognised  in 
the  four  territories  mentioned  above,  together  with 
the  necessity  inherent  in  the  plan,  of  re-inforcing 
the  parts  of  the  wall,  where  the  increase  of  thrust 
bore  most  heavily.  Here  the  point  was  reached, 
when  interest  in  the  play  of  forces,  in  the  precise 
functions  of  the  various  elements,  began  to  equal 
pleasure  in  the  beautiful  proportions  of  an  interior. 
Architects  vied  with  each  other  in  efforts  to  evolve 
new  structural  forms.  Hundreds  of  individual 
solutions  of  the  one  problem  —  the  most  practical 
method  of  construction  for  the  cross-vaulted  basilica 
were  offered.  Nevertheless,  whether  we  enter  a 
Lombard,  a  Rhenish  or  a  Norman  church  of  this 
period,  the  first  impression  we  receive  is  that  of 
spaciousness.  The  feeling  for  solidity  and  harmonious 
proportion   was  still   predominant. 

Then  central  Northern  France,  a  virgin  land, 
began  to  take  part  in  the  general  competition. 
And    now   the    interior   as  a   whole    ceased    to    be 


XII 


the  end  and  aim  of  all  constructive  activity.  Hitherto 
the  vaulting  had  been  a  termination,  part  of  a 
great  organism.  Now  it  became  a  constructive 
problem,  an  end  in  itself.  From  the  recognition 
of  the  prime  necessity  of  strengthening  the  angles 
of  the  vault,  the  logical  conclusion  was  drawn  that 
only  the  piers  essential  to  the  structure  need  be  erected. 
With  the  help  of  the  pointed  arch,  ribbed  vaults 
became  elastic  and  flexible.  The  solid  enclosing 
wall  disappeared,  at  the  best  to  make  way  for 
thin  screens  of  coloured  glass.  Soon  the  excellent 
proportions  that  had  stood  the  test  of  a  thousand 
years  were  lost.  An  extravagant  vcrticalism  set 
in.  This  development  may  be  followed  step  by 
step  in  the  short  space  of  thirty  years  in  tiic 
buildings  around  Paris,  until  its  culmination  at 
Saint-Denis,  completed  in   1144. 

It  was  in  vain  that  Germany  attempted  to  stem 
the  tide.  She  herself  never  showed  so  strong  a 
feeling  for  the  perfection  of  the  interior  as  at  the 
time  of  the  creation  of  the  choir  of  the  Church 
of  the  Apostles  at  Cologne,  and  the  cathedrals 
of  Limburg  and  Magdeburg.  In  vain  that  Southern 
France  resisted  all  the  seductions  of  the  Parisian 
school.  The  inexorable  logic  of  the  new  principles 
of  vaulting  gained  the  day.  It  required  the 
whole  power  of  Italy  to  conquer  this  style,  which 
she  termed  "Gothic"  in  allusion  to  the  hostility 
to  art  characteristic  of  the  barbarian  invaders,  and 
to  replace  purely  structural  preoccupations  by  har- 
mony of  proportion  in  interiors  and  on  flat  surfaces. 

IX 

The  interior,  as  the  highest,  and  indeed  the 
essential  object  of  architectonic  endeavour,  must 
be  the  more  strongly  insisted  upon  in  our  survey 
of  Romanesque  art,  inasmuch  as  the  very  best 
reproductions  of  it  in  the  flat  can  give  but  a 
faint  idea  of  its  effect.  Nevertheless,  we  must  not, 
in  contemplating  the  interior,  forget  its  casing, 
and  this,  not  only  because  of  its  importance  in 
relation  to  the  space  it  encloses,  but  even  more, 
because  of  the  artistic  value  which  the  exterior, 
whether  as  a  general  architectural  mass,  or  in 
individual  planes  such  as  the  fafade,  possesses 
in  relation  to  its  surroundings. 

It  is  of  course,  natural  that  the  various  dis- 
positions of  the  interiors  in  the  masterpieces  of 
French  art  already  mentioned  should  also  be  expressed 
in  the  exteriors.  We  may  therefore  surmise  that 
the  single-aisled  churches  of  Provence  and  Aquitaine, 
with    their    occasional    transepts,    are    simple    and 


monumental  in  their  effect  on  the  outside  as  well 
as  within;  this  applies  also  to  the  single-aisled 
domed  churches  of  the  South,  in  which  the  cupolas, 
as  a  rule,  are  not  visible  from  without.  A  stronger 
insistence  on  structural  arrangement  was  initiated, 
when  the  cupola  over  the  crossing  was  brought 
up  above  the  roof,  as  at  Le  Puy  [Pi.  107],  or  in 
the  beautiful  low  octagonal  domed  towers  of 
Provence.  The  contrasts  become  stronger  in 
Acjuitaine,  where  the  low  broad  mass  of  the  main 
building  shows  in  sharp  antithesis  to  the  lofty 
tower  of  the  crossing.  These  towers  have  a 
great  variety  of  forms.  Those  of  Notre-Dame-la- 
Grande  at  Poitiers  [PI.  40],  Trois-Palis  [PI.  41 J 
and  Saint-Maurice  at  Vienne  [PI.  22],  are  magnificent 
examples.  The  stately  Auvergnate  towers  over 
the  extremely  high  transepts  are  still  more  imposing; 
and  with  these,  the  exterior  of  the  east  end  is 
enriched  by  the  ambulatory  with  radiating  chapels, 
and  occasionally  by  a  lavish  use  of  coloured  in- 
crustations. Examples:  Notre  Dame-du-Port  at 
Clermont  Ferrand ,  and  for  the  incrustations,  the 
church  of  Chauriat  [PI.  70].  The  richest  type  of 
a  domed  church  is  Saint-Front  at  Perigueux  [PI.  106], 
which  recalls  San  Marco  at  Venice.  But  though 
there  is  a  great  likeness  in  the  general  arrangement, 
the  treatment  of  individual  forms  is  entirely  dissi- 
milar. The  ingenuous  delight  of  the  Venetians  in 
decorative  effects  is  absent  in  the  inhabitants  of 
Perigord.  It  may  be  said  that  a  monumental  idea 
hardly  ever  again  found  such  pure  architectonic 
expression,  undisturbed  by  any  secondary  consi- 
derations,  as  in  Saint-Front. 

In  the  South,  the  towers  of  the  facade  are  of 
secondary  importance.  Either  they  are  absent 
altogether,  and  are  replaced  by  beil-gables,  as  at 
Ydes  [PI.  71],  or  they  stand  away  from  the  building, 
like  the  Italian  campanili,  as  at  Puissalicon  [PI.  134]; 
they  are  very  seldom  incorporated  with  the  fa9ade, 
and  when  this  is  the  case,  they  are  generally  fortified. 

At  first  the  fa9ade  as  a  whole  was  treated 
with  the  utmost  simplicity  in  Provence,  that  region 
which  from  the  beginning  had  shown  a  grandiose 
conception  of  interiors;  the  careful  dressing  of 
the  freestone  alone  indicates  monumental  feeling. 
It  was  not  until  the  12"'  century,  much  at  the  same 
time  as  in  Tuscany,  that  the  antique  delight  in 
rich  ordonnance  and  decoration  awoke,  and  found 
expression  in  exquisite  achievements  inspired  by 
the  pomp  of  Roman  triumphal  arches,  such  as  the 
splendid  porch  of  Saint-Trophime  at  Aries  [PI.  125], 
and  the  even  more  imposing  triple  porch  of  Saint- 


XIII 


Gilles  [PI.  119].  Greatly  as  the  figures  and  orna- 
ment in  these  works  contribute  to  the  general 
effect,  however,  the  architectonic  rhythm  remains 
the  essential  quality.  And  here  we  see  that  the 
Southerner's  feeling  for  interiors  in  the  twelfth 
century  stood  as  little  in  the  way  of  delight  in 
the  rhythmical  arrangement  of  flat  surfaces  as 
during  the  Renaissance.  He  was  quite  content  to  let 
the  wall  appear  as  an  independent  organism,  so  long 
as  it  preserved  its  function  as  an  enclosing  element. 
The  Aquitainian  facades,  though  less  lucid  in 
their  differentiation  of  the  organic  elements  and 
the  purely  decorative  features,  are  remarkable, 
nevertheless,  for  their  fine  proportions,  which 
bear  witness  to  inexhaustible  inventive  powers. 
Their  originality  is  manifested  in  the  independence 
of  their  form  in  relation  to  the  section  of  the 
nave.  The  pediment  very  rarely  corresponds  to 
the  shape  of  the  roof.  Horizontal  terminations 
are  not  uncommon:  Echillais  [PI.  43] ;  even  semi- 
circular ones  appear  occasionally:  Echebrune 
[PI.  42].  The  angles  are  sometimes  enriched  by 
elegant  little  turrets,  as  at  Notre-Danie-la-Grande 
at  Poitiers,  and  Saint-Jouin-de-Marnes  [PI.  36]. 
in  the  general  ordonnance  we  not  infrequently 
find  here  again  the  influence  of  the  antique  triumphal 
arch,  the  proportions  of  the  centre  to  the  sides 
following  the  classic  pattern.  Examples:  Chalais 
[PI.  53],  and  Ruffec  [PI.  52].  Sometimes  the  most 
beautiful  harmony  is  established  between  the  vertical 
main  fagade  and  the  horizontal  division  by  means 
of  blind  arcades,  as  at  Echillais.  Sometimes  the 
horizontal  form  predominates,  as  at  Notre-Dame- 
la-Grande  at  Poitiers.  In  general  however,  we 
shall  find  that  in  Poitou  the  three  arches  of  the 
lower  storey  are  repeated  in  the  upper  storey, 
whereas  in  Saintonge  an  arcade  is  preferred 
above.  Angular  forms  are  conspicuously  absent; 
half -columns  predominate;  arches  and  cornices 
sometimes  resolve  themselves  into  a  curious  soft 
decoration,  the  blind  arcades  are  not  infrequently 
entirely  filled  with  figures,  as  in  the  last  mentioned 
church  and  the  Cathedral  of  Angouleme  [PI.  96]. 
As  we  shall  see  presently,  especially  in  the  region 
of  the  Garonne,  the  modelling  of  the  ghostly  figures 
is    sometimes    truly    grotesque:    Moissac   [PI.  87]. 

X 

Whereas  in  Southern  France  the  choir  was  of 
supreme  importance  in  the  ordonnance  of 
the  mass,  in  the  North  the  fa(,:ade  also  contributed 
very    powerfully    to    the    general    effect.      In    this 


connection  we  must  above  all  call  attention  to 
the  Burgundian-Cluniac  system  of  the  narthex 
(generally  two-storeyed) ,  with  flanking  towers, 
as  exemplified  first  in  Saint  Philibert  at  Tournus 
(before  1050)  [PI.  152] ,  in  the  first  part  of  the 
12"'  century  at  Vezelay  and  La  Charite-sur-Loire, 
and  later  at  Cluny,  as  also  clearly  enough  in  the 
lower  storeys  of  Paray-le-Monial  and  Saint-Benoit- 
sur-Loire  [PI.  159];  the  last,  which  was  completed 
without  a  tower,  is  in  particular,  a  very  beautiful 
building.  With  the  introduction  of  the  ambulatory, 
the  central  tower  over  the  crossing  also  makes 
its  appearance,  counterbalancing  the  two  slender 
towers  of  the  fagade  by  a  richer  and  more  massive 
treatment  of  details.  The  three-towered  plan  wes 
thenintroducedby  Cluniac  influencesinto  Normandy, 
whose  facades  had  been  towerless  up  to  this  time, 
and  adopted  in  the  great  Churches  of  Jumieges 
[PI.  205],  Cerisy,  Saint  Etienne  and  La-Sainte- 
Trinite  at  Caen,  whereas  in  Burgundy  itself  a 
reaction  soon  took  place;  the  churches  of  the 
Cistercians  have  no  towers.  In  the  matter  of  de- 
tail, a  strong  classical  tendency  reigned  in  Bur- 
gundy, under  the  influence  of  Provence,  at  least 
in  ornament,  if  not  in  figures.  The  blind  arcade 
was  especially  popular,  for  the  rest,  and  was  used  in 
the  interior  of  churches  as  a  decoration  for  the 
nave  and  transepts.  Normandy  possesses  a  very 
individual  style  of  ornament  made  up  of  notching 
and  of  textile  forms,  recalling  the  early  German  manner 
and  offering  a  strong  contrast  to  the  soft,  luxuriant, 
mainly  vegetable  decoration  of  Celtic  Aquitaine. 
Examples:  Falaise  [PI.  190],  and   Mouen  [PI.  194]. 


J 


XI 

ust  as  the  churches  in  their  aulic  and  several- 
aisled,  no  less  than  in  their  basilican  form  were 
closely  akin  to  antique  monuments,  so  the  in- 
fluence of  the  antique  is  clearly  discernible  in  the 
plans  of  the  monasteries,  and  of  the  bishop's  re- 
sidences that  were  built  on  the  pattern  of  these. 
The  central  point  of  this  plan  consisted  of  an 
atrium,  thenceforth  known  as  a  cloister.  This  had 
already  in  Carolingian  times  exchanged  the  position 
it  occupied  in  the  early  days  of  Christianity,  in 
front  of  the  West  facade  of  the  church,  for  a  more 
retired  and  more  peaceful  site  adjoining  one  or 
the  other  of  the  side  aisles.  The  few  supports 
of  the  tetrastyle  or  of  the  Corinthian  atrium  were 
replaced  l)y  an  arcade,  making  a  somewhat  sharp 
division  between  the  walk  or  gallery  and  the 
space  it  enclosed,    a  square   garden    with    a  well. 


XIV 


These  cloisters  have  survived  in  large  numbers, 
both  in  monasteries  and  cathedrals.  Among-  those 
reproduced  in  this  volume,  the  cloister  of  Le  Puy 
[Pi.  110]  is  that  which  gives  the  best  idea  of  the 
plan  as  a  whole.  The  excellent  treatment  of  de- 
tails is  well  exemplified  in  the  cloisters  of  Saint- 
Trophime  at  Aries  [PI.  128],  Elne  [Pi.  35],  Moissac 
[PI.  94],  Saint-Bertrand  de  Comminges  [PI.  115], 
and  Saint-Lizier  [PI.  118].  The  church  adjoined 
the  cloister  on  the  north  or  south,  and  against 
the  other  three  arms  lay  other  buildings,  the 
existence  of  which  was  necessitated  by  the  genera! 
organisation  of  the  monastery  in  relation  to  the 
cathedral  clergy.  Without  any  slavish  adherence 
to  an  accepted  model,  the  ground-plan  remained, 
on  the  whole,  similar  to  that  adopted  in  the  plan 
of  the  monastery  of  Saint  Gall,  of  830.  Opposite 
the  church  was  the  refectory,  on  the  east  side  of 
the  cloister  the  chapter-house  (cf.  Saint-Martin  at 
Tulle)  [PI.  113];  over  this  was  the  dormitory;  on 
the  west  side  were  chiefly  store-rooms  and  between 
these  other  rooms,  more  freely  divided  into  con- 
versation rooms,  libraries  etc.  Beyond  these 
clustered  buildings,  called  collectivelly  the  Close, 
lay  as  a  rule,  the  Abbot's  residence,  or  the  Bish- 
op's palace;  cf.  Auxerre  [PI.  186].  In  addition, 
the  monastery,  which  in  contrast  to  the  cathedral, 
was  originally  built  in  an  isolated  spot,  was  sur- 
rounded by  a  large  number  of  auxiliary  buildings, 
hospitals,  hostels  and  the  like,  as  is  well  shown  in 
the  view  of  the  Cistercian  Abbey  of  Fontfroide 
[PI.  33].  The  whole  was  surrounded  by  a  forti- 
fied wall. 

While  the  cloisters,  especially  in  the  South, 
were  lavishly  decorated  with  clustered  columns, 
ornamented  capitals  and  figured  pillars,  monasteries 
and  cathedral  closes  usually  present  blank  walls 
to  the  outside  world.  Very  few  such  buildings 
still  in  existence  are  exceptions  to  the  rule,  as  is 
the  magnificent  episcopal  palace  at  Auxerre  [PI.  186], 
which  challenges  comparison  with  the  most  splendid 
German  castles  of  the  period,  the  Wartburg  and 
the  Kaiserpfalz  at  Wimpfen,  or  the  elegant  Choir 
School  (Manecanterie)  of  Lyons  Cathedral  [PI.  187]. 

Generally  speaking,  the  castles  of  the  princes 
and  nobility  are  not  to  be  compared  to  contemporary 
German  and  Italian  buildings.  The  defensive 
character  of  the  structure  is  emphasised  even  more 
than  in  the  German  "Berchfrit",  in  the  gigantic, 
for  the  most  part  quadrangular  French  donjons, 
magnificent  examples  of  which  are  still  to  be  found 
at  Beaugency  (Loire),  Chauvigny  (Vienne),  Etampes 


(Seine-et-Loire),  Loches  (Indre-et-Loire)  St.-Emilion 
(Gironde);  while  the  donjon  was  gradually  evolving 
into  a  more  comfortable  dwelling,  no  advance  in 
this  direction  was  made  in  the  arrangement  of 
the  hall.  Well-lighted  rooms  were  arranged  in 
the  donjon  itself,  as  at  Montelimar  (Drome), 
and  Chambois  (Orne),  but  we  very  seldom  find 
independent  saloon-like  interiors,  like  that  of  the 
hall  of  Burlats  (Tarn)  with  its  Tuscanesque 
double  windows  |P1.  116),  and  the  kindred  building 
at  Saint-Antonin  (Tarn-et-Garonne),  now  used  as 
the  town-hall   [PI.  117]. 

7he  only  extant  independent  example  (jf  a 
civic  building  at  a  time  when  towns  were  just  entering 
upon  their  period  of  development,  is  the  town- 
hall  of  La  Reole  (Gironde).  It  has  the  typical 
form  of  later  centuries,  an  open  gallery  below, 
and  a  large  council-chamber  above. 

The  chimneys,  always  an  important  feature  in 
French  architecture,  are  perhaps  the  most  remarkable 
among  the  many  interesting  details  of  this  period. 
Magnificent  richly  terminated  chimneys  adorn  the 
chapter-house  at  Le  Puy,  and  the  lazar  house  at 
Perigueux.  But  the  most  curious  work  of  this 
kind  is  the  kitchen  of  Fontevrault  Abbey  (Maine  et 
Loire)  [PI.  197],  a  centrally  planned  building  with 
apses.  Each  apse  contains  a  fire-place;  the  whole  is 
crowned  by  a  conical  roof,  which  also  serves  as  a 
chimney. 

Among  other  buildings  we  may  mention  the 
bridges;  the  Romanesque  period  produced  several 
very  important  examples  after  the  Roman  model, 
among  them  the  bridge  of  twenty-seven  arches  at 
Tours  (Indre-et-Loire)  1031 — 1037,  and  the  beautiful 
bridge  of  Avignon  (Vaueluse)  1177 — 1185.  Foun- 
tains, generally  of  the  stately  type  we  know  from 
the  Maulbronn  fountain,  a  basin  surrounding  a 
column,  have  survived  only  in  a  few  ruins.  Provins 
(Seine-et-Marne)  and  Obazine  (Correze)  owned 
typical  examples.  Limoges  (Haute-Garonne)  pos- 
sessed a  magnificent  monument  in  its  Fontaine  du 
Chevalet,  with  a  statue  of  Constantine,  equestrian 
statues  of  whom  are  also  to  be  found  on  the 
fafades  of  several  western  churches.  Reims  (Marne) 
had  a  similar  fountain  with  a  stag  before  the 
Archbishop's  Palace.  Finally,  we  may  include 
those  slender  towers,  the  Lanterns  of  the  Dead, 
among  the  most  grandiose  memorials ;  their  very 
simplicity  makes  them  doubly  effective.  Fine  examples 
are  to  be  found  in  the  Churches  of  Cellefrouin 
(Charente),  and  Fenioux  (Charente  Inferieure) 
[PI.  60]. 


XV 


XII 

Having-  now  made  a  short  survey  of  the  evolution 
of  Romanesque  Architecture,  a  brief  enquiry 
into  the  unquestionably  close  connection  between 
architecture  and  statuary  becomes  necessary. 

Setting  aside  the  primary,  extra-artistic  functions 
assigned  to  sculpture  by  religion,  those  of  narration, 
instruction,  admonition,  or  at  best,  of  representation, 
its  true  artistic  task  is  obviously  to  decorate.  But 
when  sculpture  gives  itself  up  entirely  to  the  ser- 
vice of  architecture,  it  renounces  its  highest  right, 
namely,  the  development  of  an  independent  monu- 
mental style.  The  statuesque  presentment  of  the 
human  body,  the  noblest  effort  of  sculpture,  is 
set  aside.  The  religion  of  the  period  demanded, 
not  the  human  figure,  pure  and  simple,  after  the 
antique  fashion,  but  at  most,  man  as  a  means  for  the 
representation  of  a  person  or  the  materialisation 
of  an  event.  Now  if  isolated  statues  served  to 
represent  persons,  reliefs  were  essential  for  the 
illustration  of  events.  And  sculpture  was  further 
forced  to  employ  relief  in  order  to  carry  out  its 
artistic  mission,  the  decoration  of  flat  surfaces. 
It  is  significant  that  with  the  dawn  of  the  Gothic 
style,  at  the  moment  when  architecture  lost  the 
characteristics  of  a  space -enclosing  art,  (i.  e.  flat 
surfaces)  sculpture,  too,  lost  its  purely  decorative 
character;  it  became  more  independent,  freer,  and 
at  the  same  time  more  life-like.  Before  this,  sculpture, 
as  long  as  it  was  confined  to  the  plane,  seemed 
totally  indifferent  to  reality.  This,  it  must  be  ad- 
mitted, was  a  defect.  There  is  no  artistic  obligation 
to  make  use  of  the  human  body  in  decoration; 
plant  or  abstract  ornament  would  suffice,  as  a 
considerable  number  of  churches  in  Poitou  and 
Normandy  prove.  But  if  the  human  figure  is 
pressed  into  the  service  of  decoration,  the  decorator 
must  not  shirk  the  study  of  nature,  if  he  would 
avoid  the  danger  of  a  wooden  and  lifeless  mannerism. 
This  becomes  evident  to  any  earnest  student  of 
Romanesque  art  in  its  plastic  manifestations;  the 
best  works  of  this  period  are  distinguished  from 
those  of  the  Renaissance  by  the  circumstance, 
tiiat  though  they  too  were  influenced  by  the  antique, 
they  were  seldom  inspired  by  Nature;  and  the 
very  works  which  most  clearly  reveal  the  tendencies 
of  the  age  are  those  which  show  niost  unmistak- 
ably the  inclination  to  treat  the  human  figure 
merely  as  a  decor«.tive  element.  These  negative 
evidences  of  the  pre-eminently  decorative  charactei 
of  Romanesque  sculpture  are  to  be  taken  in  con- 


junction with  more  positive  qualities:  its  suitability 
for  flat  surfaces,  its  generally  clearly  defined 
ordonnance,  and  its  admirable  adaptability  to  an 
architectonic  scheme  as  a  whole. 

But  though  Romanesque  sculpture  may  lack  the 
warm  and  living  quality  of  an  art  more  closely 
in  touch  with  Nature,  its  creations  are  by  no  means 
devoid  of  great  artistic  charm.  This  consists,  apart 
from  the  clarity  of  the  composition,  the  balance 
of  the  proportions  and  the  delicate  rhythm,  pre- 
cisely in  that  decorative  convention,  that  deliberate 
renunciation  of  Nature,  which  bears  witness  to  a 
feeling  for  beauty,  alien,  it  is  true,  to  modern 
conceptions.  I  may  instance,  in  support  of  my 
contention,  the  fine  Saint  Michael  from  Nevers, 
now  in  the  Louvre  [PI.  156]. 

The  Romanesque  sculpture  of  France  is  un- 
questionably greatly  superior  to  that  of  neigh- 
bouring countries.  In  Italy  we  note  a  growing 
immobility  down  to  the  middle  of  the  twelfth 
century;  the  first  Italian  sculptor  who  gave  new 
life  to  the  art  was  Benedetto  Antelami,  whose 
stimulus  came  to  him  from  Provence.  Germany, 
it  is  true,  possessed  an  excellent  school  of  sculpture 
in  the  North  during  the  12"' century;  but  all  too 
soon,  it  succumbed  to  French  influences;  while 
what  has  been  said  above  about  Italy  is  equally 
true  of  Southern  Germany. 

Thus  we  see  French  Sculpture  extending  its 
influence  on  every  side  at  the  culminating  period 
of  the  Middle  Ages;  the  sculptors  of  the  12"' 
century,  who  as  precursors  were  of  greater  importance 
than  the  contemporary  architects,  were  already 
entering  upon  the  road  on  which  the  French  art 
of  the  13"'  century  was  to  make  its  triumphal 
progress  throughout  Europe. 

Uniform  as  was  the  effect  of  French  sculpture 
abroad,  its  internal  development  was  remarkably 
rich  and  varied.  In  the  domain  of  sculpture  we 
are  able  to  distinguish  several  schools,  by  no  means 
identical  with  contemporary  schools  of  architecture. 
Broadly  speaking,  six  important  groups  may  be 
discerned :  a  broad  strip  of  country,  extending  from 
Provence  across  Auvergne  and  the  basin  of  the 
Loire  to  Poitou,  shows  a  more  conservative  tendency; 
two  territories  on  its  outskirts,  Languedoc  and 
Burgundy,    incline    to    a   moderate    progressivism. 

The  conservative  tendency  makes  itself  felt  in 
a  closer  dependence  upon  antitjuc  models,  fairly 
numerous  in  central  Gaul,  the  part  of  the  country 
which  had  suffered  least  from  the  ravages  of  war. 
It   is  not  only  the  late  Roman  style  of  the  compo- 


XVI 


sition  which  differentiates  works  like  the  frieze 
of  the  apse  at  Selles-sur-Cher  [PI.  146]  and  the 
tympanum  of  La  Charite-sur-Loire  [PI.  178]  from 
the  creations  of  other  groups;  the  types  of  the 
heads,  the  treatment  of  the  draperies,  the  quiet  free- 
dom of  the  action,  proclaim  these  works  of  the  Loire 
district  the  immediate  outcome  of  late  classical  art. 

Compared  with  these,  the  works  of  Auvergne,  as 
preserved  in  the  capitals  of  the  choir  in  Notre- 
Dame-du-Port  at  Clermont-Ferrand ,  at  Issoire, 
Orcival,  Chauriat,  and  in  the  great  tympanum 
with  the  Last  Judgment  at  Conques  [PI.  78],  reveal 
more  of  the  influence  of  the  early  Christian 
sarcophagi;  the  same  may  be  said  of  the  sculptures 
of  that  part  of  Languedoc  adjoining  Provence; 
very  characteristic  work  is  to  be  seen  in  the  Porch 
of  Saint-Pierre  at  Maguelonne  (1178  and  later) 
[PI.  11]  and  in  the  carved  pillars  of  the  cloisters 
at  Saint-Bertrand  de  Comminges.  Classical  in- 
fluences are  intermingled  with  those  of  Languedoc 
sculpture  in  the  richly  decorated  fa9ades  of  Saintonge 
and  Poitou.  The  result  is  well  shown  in  the  ex- 
quisite reliefs  of  the  Cathedral  of  Saint  Pierre  at 
Angouleme,  which  have  happily  escaped  restoration, 
in  the  reliefs  illustrating  Scripture  episodes  from 
the  Fall  to  the  Birth  of  Christ  on  the  fa9ade 
of  Notre-Dame-la-Grande  at  Poitiers,  works  which 
well  repay  minute  inspection,  but  are  distributed 
over  the  fa9ade  with  too  little  regard  for  decorative 
effect;  in  the  sculptures  of  the  porch  at  Aulnay, 
Saintes,  and  many  other  places,  and  in  the  reliefs 
in  the  pendentives  of  the  cloisters  of  Saint  Aubin 
at  Angers.  In  all  these  works  the  statuesque 
character  is  entirely  subordinated  to  the  decorative 
design;  but  here  the  effect  depends  less  upon 
the  modelling  of  the  details  of  the  figures  than 
upon  their  co-ordination  with  animal  and  vege- 
table motives  to  produce  that  strangely  rich  unity, 
the  character  of  which  we  have  tried  to  suggest 
above,  in  our  description  of  Romanesque  exteriors. 

A  much  more  pronounced  sculpturesque  quality 
distinguishes  the  monuments  of  Provence,  notably 
Saint-Trophime  at  Aries  [PI.  124  —  129],  Saint- 
Gilles  [PI.  119 — 123],  and  the  numerous  churches 
derived  from  these,  such  as  Saint-Bernard  at  Romans. 
In  these  churches,  dating  from  the  second  half  of 
the  twelfth  century,  where  we  find  works  no  less 
remarkable  for  excellent  composition  than  for  the  fine 
modelling  of  individual  figures,  we  note  not  only  the 
influence  of  antique  buildings,  but  also  that  of  the 
first  monumental  works  of  the  newly  awakened  North. 

It  was  in  Burgundy  and  Languedoc,    however, 


that  Romanesque  sculpture  found  its  most  inde- 
pendent development.  The  earliest  works  of  the 
South,  in  Saint-Scrnin  at  Toulouse,  are  still  archaic- 
ally stiff  and  clumsy.  The  period  of  efflores- 
cence began  with  the  capitals  in  the  cloisters 
(1100—1115),  and  the  west  porch  (1115—1135), 
of  the  Abbey  of  Moissac.  The  tympanum  here 
represents  the  Apocalyptic  Vision  [PI.  87];  the 
two  piers  bear  the  statuesqucly  treated  reliefs  of 
Saint  Peter  [PI.  92]  and  Isaiah,  and  the  side  pan- 
els of  the  portico  are  decorated  with  sym- 
bolical groups  of  Avarice  and  Prodigality  [PI.  90], 
and  scenes  in  the  Life  of  the  Virgin  [PI.  91],  re- 
markable throughout  for  the  expressive  action  of 
the  actors,  combined  with  a  strangely  decorative 
movement  of  figures  and  draperies.  There  are  replicas 
of  this  porch  at  Beaulieu  [PI.  88]  and  at  Souillac, 
the  latter  a  very  graceful  version  [PI.  93].  Other 
works  to  be  classed  in  this  category  are  the 
well-proportioned  tympana  of  Cahors  [PI.  80]  and 
Carennac  [PI.  89],  the  splendid  figures  of  Apostles 
from  the  cloisters  of  Saint-E.tienne  at  Toulouse 
[PI.  75],  and  finally  an  Annunciation  [PI.  75],  now 
in  the  Museum  of  Toulouse,  which  is  perhaps  the 
most  perfect  example  of  the  whole  series. 

The  delight  of  the  Burgundians  in  decoration 
may  be  inferred  from  Saint  Bernard's  unavailing 
protest  against  the  increasing  use  of  ornament 
(c.  1130).  The  Cistercian  Churches  renounced  the 
use  of  figures  in  decoration  thenceforth  (cf.  the 
porch  of  Montreal  [PI.  147]) ;  but  in  the  Cluniac 
churches  and  in  the  cathedrals,  the  pleasure  in 
decoration  of  which  we  see  an  earnest  in  Saint 
Philibert  at  Tournus  and  the  capitals  of  Saint- 
Martin  d'Ainay  at  Lyons,  blossomed  all  the  more 
luxuriantly.  The  two  principal  works  are  the 
tympana  of  Vezelay  (c.  1132),  representing  the 
Feast  of  Pentecost,  and  of  Autun,  with  its  Last 
Judgment  [PI.  179].  The  exaggerated  slenderness 
of  the  figures  and  the  rhythm  of  the  movement 
give  these  reliefs  a  character  even  more  singular 
than  the  kindred  works  of  Languedoc.  Among 
the  later  productions  of  this  school  we  must 
mention  the  porch  of  Charlieu  [PI.  149]. 

To  this  art,  which,  with  all  its  animation,  preserved 
the  decorative  character  proper  to  the  ornamentation 
of  flat  surfaces,  the  North,  even  before  it  had 
perfected  a  new  architectural  style,  opposed  a 
work  of  truly  monumental  character  in  the  Porte 
Royale  of  Chartres  Cathedral.  It  inaugurated  the 
dissolution  of  the  close  relation  between  architecture 
and  sculpture.     Romanesque  Art  was  no  more. 


XVII 


BIBLIOGRAPHY 


The  only  exhaustive  study  of  the  development 
of  mediaeval  French  Architecture  is  Dehio  and 
von  Bezold's  work,  Die  kirchliche  Baukunst  des 
Abendlandes.  Stuttgart,  1892—1901.  Enlart  furnish- 
es some  valuable  additions  to  this  in  A.  Michel's 
Histoire  de  I' Art.  vols.  I,  II,  Paris,  1905.  A  very 
complete  bibliography  is  given  in  Enlart's  Manuel 
d'Archeologie  francaise,  vol.  I,  Architecture  religi- 
euse,  Paris,  1902;  vol.11.  Architecture  monastique. 
civile,  militaire,  et  navale,  Paris,  1903.  Other  in- 
dispensable works  are  J.  Quicherat's  Melanges 
d'Archeologie,  2  vols.  Paris,  1886,  and  A.  Saint- 
Paul's  Histoire  monumentale  de  la  France,  Paris, 
1888.     The    following    are    important    monographs 


upon  the  more  prominent  schools:  V.  Ruprich- 
Robert,  L' Architecture  normande  aux  XI''  et  XII'' 
siecles,  Paris,  1884.  A.  Kingsley-Porter,  Mediceval 
Architecture.  I,  New -York,  1909;  and  for  the 
architecture  of  the  South,  Revoil's  L  Architecture 
romane  du  Midi  de  la  France,  Paris,  1866 — 1874. 
An  excellent  survey  of  French  Romanesque 
Sculpture  is  given  by  A.  Michel  in  his  Histoire 
de  I'Art,  vols.  I,  II,  Paris,  1905.  W.  Voege's  brilliant 
book,  Die  AnfUnge  des  monumentalen  Stiles, 
Strassburg,  1894,  is  discounted  by  an  initial  blunder  ; 
he  supposes  the  sculptures  of  Chartres  to  have 
been  inspired  by  those  of  Saint-Trophime  at  Afles, 
whereas  the  reverse  seems  to  have  been  the  case. 


XVllI 


Saint-Michel  d' Entraigiies  (Charente) 
Church,  West  end 


5 

Si    C 
.§=1 

St 


c? 


4 


I     — 


"2 


5 


Is 


^ 


Charroiix  (Vienne) 
Octagonal  Tower  of  the  Abbey 


C/iarroiix  (Vienne) 
Abbey,  Octagonal  Tower,  lower  part 


Qitunpcrlc  (Finistirc) 
Sainte-Croix,  Nave,  Vtczv  frotii  /lie  entrance 


Sa ven n teres  (Ma  ine- et- Loire) 
Cliurdi.  Apse 


10 


Diirnc  (Rasses-Alpes) 
Notre- D(iiuc-(hi-lk>iirg,  Nave,  View  from  llic  entrance 


11 


Magiielonne  (Hcraiilt) 
Saint-Pierre,  West  Portal 


12 


Aiilfi ay  (Ch a ren tc- Infcrieii n ) 
Saint-Picrn;  South  I'ront  of  the  Transept 


13 


Aulnay  (Charente  Iiifcrieurc) 
Saint-Pierre,  Window  of  tlie  Apse 


14 


2 

5  '^ 


'■O 


15 


Aula  ay  ( Cli  a  rente-  Infcrieiire) 
Saint- Pierre,  Transept,  South,  Detail  of  the  Porcli 


16 


A II I  nay  (Cha  rcn  te-  In  ft  ricun  ■) 
Saint-I'icrn;  West  Front,  Detail  of  the  South  f'orrli 


17 


Cunault  (Maine-et- Loire) 
Church,  Apse 


18 


Rioiix  (Ch  (I  ren  Ic-  Inferleure) 
Church,  Apse 


19 


Rctaud  (Charente-lnfcrieure) 
Church,  Apse 


20 


Montmorcan  ( ('.liarcntc) 
Churdt,  North  I'ront 


21 


as 


22 


Saint-Maurice  {Vienne) 
Church,  Apse 


23 


2c£ 


'^'^ 


24 


Bcoyeux  (Charciitc  Infcriciircj 
Church.  Apse,  South  end 


25 


•-    T 


26 


Jazcnctiil  (Victine) 
Chiirdi,  Detail  of  the  Apse 


27 


Angers  (Maine-et-Loire) 
Saint-Aubin,  Cloister 


28 


l.yon  (Rlii'iiic) 
Saint-Martin  d'Ainav.  K  est  I 'runt 


29 


« 

1^ 

1:^ 

^^ 

<u 

=! 

« 

u 

O 

a 

5U 

_i 

•« 

■ — 

.^ 

■^ 

C-, 

c 

■i2 

1^ 

:2 

t? 

o 


30 


Vdison  (Vaiuiusc) 
Capitals  in  the  Cloister 


31 


Aix  ( Boiiches-du- Rhone) 
Cathedral  of  Saint-Sauveur,  Capitals,  Bases  and  small  Columns 


32 


Aix  ( Boudtes-du-Rh6ne) 
C(tthc(hal  of  Siunt-Saiivctir,  Cloister  Pillars  and  Ticiii-Coliiiniis 


33 


G 

ty 


34 


Elne  ( Pyn'nees-Orientales) 
Pillars  of  the  Cloister 


35 


-   s 

-5  G 


36 


S(iint-J<niiii-de- A]ii rii cs  ( Deux- Sevres) 
Cliiirdt,  West  Front 


37 


Poitiers  (Vienne) 
Notre-Dame-la-Grande 
View  from  South  East 


38 


^   -7   ^ 


c£  -g  ^ 


39 


1^ 

•2  ^ 


:SQ^ 


^ 


55 


40 


Poitiers  (  Vienne) 
Notre- Damc-la-Orandc,  Belfry 


41 


Trois-Palis  (Charente) 
Church,  Belfry 


42 


Ecliebrune  (Cliarciitc-lnfcrieuic) 
Church,  West  Front 


43 


Ech  illais  (Charente-Inferieure) 
Church,  West  Front 


44 


P(irllicn(iy-le-Vii'iix  (Deux-Scvrcs) 
Chunk,  West  i'ront,  North  Portal 


45 


5 

5 


46 


Siirgeivs  (Cliarcntc-lnfericnir) 
Church,  Last  /'runt,  Detail  North 


47 


.?  Q 


o 


48 


Vouvant  (Vendee) 
Churcfi,  North  Transept,  Portal 


49 


15 


5  "^ 


50 


Chauvigny  (Vienne) 
Saint- f'icnr,  Apse 


51 


u 


u 


52 


o 


:i: 


p 


53 


ti. 


^§ 


J   'O 


54 


Akl/c  ( Deux-Sivres) 
Saint-l lildirc,  Side  dish;  North 


55 


•Si  -^ 


I- 1 


o 


^ 


56 


Bussiere-Badil  (Dordogne) 

Church,  Nave,  View  from  the  Chunccl 


57 


Preti  illy  (Indre-  et- Loire) 
Church,  Nave,  View  frotti  the  entrance 


58 


I'igeac  (Lot) 
Siiiiit-Saiivctir,  Side  aisle,  South 


59 


Airvault  ( Deux-Sevres) 
Saint-Pierre,  West  Portal 


60 


Ccll( ■fro II ill  (CJiarciile) 
/.(intern  of  the  Dead 


I'cnionx  tClKiicittc-Iiifcrinire) 
Lantern  of  llie  Dead 


61 


a 
■« 


P    T5 


"5  '^ 


62 


Saint-Savin-dc-l.(ivi'(l(iii  ( I laiilcs-iyrciircs) 
C/iiircli.  Cupilals 


63 


Cruas  (Ardedie) 
Church,  Capitals 


64 


Clermont-Ferrand  (Puy-dc-Domc) 
Notre-Dume-du-Port,  South  Transept 


65 


Clermont-Ferrand  (Puy-de-Dome) 
Notre-Dame-du-Port,  Apse 


66 


CIcrm  on  t-  Ferra  n  d  (Puy  -  dc-  Do  in  e) 
Notre- Damc-dii- Port,  Small  Portal  South 


67 


Clermont-F errand  (Piiy-dc-Ddtnc) 
Notre- Dame-du-Port,  Nave,  View  from  the  chancel 


68 


Lssoirc  ( l'iiy-(h'-f)i)iiirj 
Siiiiit-Pdiil,  Apse 


69 


I 


2G 


70 


Chaitriat  (Piiy-dc-D6me) 
Church,  South  Transept 


71 


Ydes  (Cantal) 
Church,  West  Front 


72 


Toil  louse  ( Ifiiiilr-Cniroimc) 
Saint-Sernin,  Hast  end 


73 


3: 


Co 


i5 


74 


Toulouse  (Haute-Garonne) 
Sa in t-Scnnn,  Capital 


Toulouse  (Hautc-Ciaronne) 

Twin-Columns  from  the  Abbey  of  the  Daurade 

(Museum  of  the  Augustines) 


75 


5. 


^ 


•?< 


O 


=« 
■^ 


9^ 


76 


C     Ci, 


'5     i 


r^^ 


77 


i~. 


k 


78 


CoiK/iu's  ( Avcyron) 
Saintc-I'oy,  West  Portal 


79 


Perigueitx  (Dordogne) 
Saint-Etienne-de-la-Citc,  View  from  Soiit/i  East 


80 


('.(ihors  IImI) 
Calhcdnil,  I'orlal 


81 


Cognac  (Charentc) 
Saint-Lcgcr,  West  Front,  Detail  of  the  Portal 


8^ 


(icnsac  (Charciitc) 
Church,  View  from  South  West 


83 


Gensac  (Charcntc) 
Church,  Nave,  View  from  the  Chancel 


84 


Solii^iuii  (fliiuuA'ii/tiuj 
Chiinli.  Xortfi  Transept 


85 


G 


86 


^ 


c/5  "C 


•% 


u 


87 


Aloissac  (Tani-ct-Garonnc) 
Saint-Picnr,  South  Portal 


88 


-V,     « 

as 

si 


02 


<o 


89 


-J    c- 


F-' 


O 


90 


Moissac  (Tani-ct-Ciaronnc) 
Saint-Pierre,  South  Portal,  left  side 


91 


Moissac  (Tarn-et-Garonne) 
Saint-Pierre,  South  Portal,  right  side 


92 


Moissac  (Tarn-ct-Garoiinr) 
Saint-Pirnr  on  the  left  side  of  tin-  /'I'rlnl 


93 


Soulllac  (Lot) 
CItiinii,  A   hroplict  from  the  inside  of  tlw  fhirtul 


94 


1^  G 


to 


95 


il 


!.§ 


96 


Aiii^'oiilrnic  (C/iarciilr) 
('.(illicdral  (if  S<iiiit-Pi('irc,  West  Front 


97 


ti. 


98 


Allison Iriiir  (Charcntc) 
Cathedral  of  Saint-Pierre,  Apse 


99 


100 


Angoii  I  cm  c  ( C/i  a  rcn  tc) 
Cathedral  of  Saint-Pierre,  Frieze  of  a  Window 


Angoulciiie  (Clia rente) 
Griffin  from  the  Cathedral  (Museum) 


Bourses  (Cher) 
Cathedral  of  Saint-I:tienne,  Detail  of  a  I'ricze 


101 


102 


^ 


5,  I 

I  G 

•7--  ^ 


a 


o 


5  s- 


(S5 


u 


103 


'O  -2 


-/,  >; 


104 


K 


5:  ,2 


Co 


G 


105 


i'-.S 


o 


106 


ILI^ 


U4 


107 


■-J 


:S9 


r-  ^ 


108 


/,('  Pay  (llaiitr-Loire) 
Cathedral  of  Notrc-Danic,  XX'csl  i'roiit 


109 


Lc  Pay  (Haiitc-Loirc) 
Chapel  Saint-Midhi  d'. Aiguille,  Pordi 


no 


i.c3 


a: 


Ill 


'fi    _<i> 


112 


Poitiers  (Victim' I 
Saint-Ililairc,  Navr,  View  from  tlir  Clianrcl 


r 


113 


.1'  =1. 


^ 


114 


Saint-Bert iand-de-(Atininini:^cs  (I laute-Cmrouuc) 
Cloister 


115 


-/;  !^ 


o 


U 


"■O 


\ 


116 


Burials  (Tnni) 
Tower  of  the  Castle 


117 


Saint-Antoniii  (Tarn-ct-Garoiinc) 
Toivu-hall 


118 


^ 


119 


-3^ 


o 


120 


^ 

Sainf-Gilles  (Garil) 
Church,  Wed  Front,  Detail  of  the  North  aid 


121 


Saint-Gilles  (Gord) 
Church,  West  Front.  Detail  of  the  South  end 


122 


Saiiil-Ullles  (Uanlj 
Church,  West  I'rotit,  South  cud 


123 


Saint-Oillcs  (Gani) 
Church,  Detail  of  the  West  Front 


124 


Aries  (Boiiclics-du-lili(')tic) 
Saint-Tropliinif,  \S\-st  I'oilnl.  n'l^lil  side 


125 


ca  tc 


126 


Aries  ([ioiiihcs-dii-Rlionc) 
Saint-Trophimc,  IHllur  from  the  (Uoisler 


127 


Aries  (Bouchcs-dti-Rhdne ) 
Saint-Trophime,  Cloister 


128 


t:   « 


129 


?G 


F~, 


r) 


130 


I.csctirc  (Tani) 
Cliiiirh.   West  />i>ii(il 


31 


Leon  eel  (Drome) 
Cluireh.  West  side  of  Side-aisle 


132 


Romans  (I)rdiuc) 
Saint-Bcnuird.   Dcldil  af  llir  Smilli   I'ortu! 


133 


134 


m-m 


'f^-^ 


Pit  issa  Ham  (Ih  ti  hi  It  I 
Tower  in  the  Cemetery 


135 


136 


,i^~^"^'    ' 


Saiiit-Cjiiilhciii-d II -Desert  (Hcrault) 
Onianu'iit 


Vciicc  (Alprs-Alaiitiincs) 
A  Fragment  of  Seulptitre 


137 


'o  'o 


.^  S 


o 


138 


B^i^c-lc-Chdtcl  (Mil) 
Saiiit-Afulir,  liclfrv 


139 


^ 


140 


Caen  (Calvados) 
Saintc-Triiiitc.  Capital 


Saint- Die  (Vosgcs) 
Saiiitc-Trinitc,  Capital 


141 


2  Cj 


^ 


142 


Sainf-A1artin-lc-Bcaii  ( liulrc-rt-l.oirc) 
Church,   West  I'oiial 


143 


Avallon  (Yonnc) 
Saint-Lazare.  South  Portal 


144 


Aviillon   (Ydiinc) 
Saint-I.azarc.   Dchiil  <>/  llir  Soiilli  !\>rliil 


145 


Biilegarde  (Loiivt) 
CInircli,  West  Front,  Detail  of  the  Central  Portal 


146 


C5   S; 


d 


.^ 


147 


'o 


5^ 


G 


148 


149 


150 


r 

f __ 

1 

i 

"^iM 

^^^^H 

/Fl!^ 

^3 

Riviere  (/iidre-et-Loire) 
Church,  (Aipitdls  (iinl  Bases 


151 


Vignoiy  (Hautc-Marnc) 
Church,  Nave,  \ Iciv  from  the  entrance 


152 


--0  S 


Q, 


^ 


153 


§  .S 


:^^ 


■J-: 


154 


Nevrrs  (Nicvrc) 
Stiiiit-litiriinc.  Apse 


155 


i^ 


■u~: 


^j 


156 


Ncvcrs  (Nii'vrc) 
St.  Micliticl.  ill  the  /.oiivrc  f\irls,  (iriiiinally  at  Ncvcrs 


157 


£  "^ 


■5  ^ 


'o 


158 


Saint-Bvnoit-siir- Loire  ( l.oirct) 
Chiinh.  Mew  from  North  West 


159 


160 


Sa  in  t-Bcii  oit-sur- 1,  oirr  ( l.oiirt) 
Chiiirh.  fiifrrior  o/  llic  Portico 


161 


Saint-BcnoU-siir-Loire  (Loirct) 
Church.  \"iciv  from  the  Aisle 


162 


5- 


r  O 


02 


Co 


163 


3, 


1^ 

o 


2 


o 


42 

<3 


O 
•~0 


03 


164 


Sdilli-Cn'lUiU    (/lullVj 
('.liinrli.   /'Illiirs  on  the  riij^ht  hand  side  of  llic  Aislr 


165 


Fontgombault  (Indre) 
Churclt.  Chancel 


166 


Fontgonihtiiill  (liidrc) 
Cliinri!.   West  forltil 


167 


168 


■5  U, 


II 

i 


169 


=  "^ 


i.  i- 


170 


La  Charitc-sur-Loirr  (Nicvrcj 
Saintc-Croix.  Belfry  and  I'oiial:  Soiilh  luisl  end 


171 


La  Charite-sur- Loire  (Nicvre) 
Sainte-Croix,  North  East  view 


172 


La  Charitc-sur-Loirc  (Nicvre) 
Sainte-Croix,  Tower,  East  end 


173 


La  Charite-sur-Loire  (Nievrc) 
Saintc-Cmix,  Toiver,  detail 


174 


■5  Q 


175 


li. 


o 


176 


Q 


^'  ^ 


-5  o 


177 


178 


o 
o 


s 

o    e 
■-J    =1, 


SO 

3 
Co 


179 


o 
o 
Q 


O 


5 


2  ^ 


"o 


O 


180 


2- 


'O  Uj 


^ 


/o 


•5; 


o 


181 


p 

V-'- 

R 

f     ..^v 

« 

o 


1  7^^ 

1 

: 

'5  U 


r  £; 
1  I 


-?! 


'    C; 


o 


182 


V('zelay  (Yoiiiic) 
Saintc-Aladclcinc,  (Aipitals  and  Bases 


183 


184 


-^ 


^ 


185 


■ij 


"^  ^ 


o 


186 


Atixerrc  (Yonnc)  ^ 
La  Pivfriiiiir,  /oniicrly  llir  Bishop's  Palace 


187 


188 


Mane^lise  (Seine- /n/erieure) 
Cluirch.  South  Aisle 


189 


•5  ^' 


5  ^ 


Co 


190 


5u 

03 


-£  ■>. 


U 


5  'S 
o 


a 

^ 


191 


oa 


-     3 


'i. 


192 


(jiithcaiix  (Calvados) 
Dflail  (if  the  South  end  of  tlic  Church 


193 


o 


a^ 


S     O 


u 

^ 


-2  -? 


-  O 


194 


AloiH'i!  (Calvados) 
Church,  Detail  of  the  South  end 


Beaumais  (Calvados) 
Frieze  in  the  Church 


195 


i? 


'O     rj 


o 


196 


Bayciix  ((uilvados) 
Saiiit-Loiip,  South  l:ast  end 


197 


•5  (S 


k. 


^^ 


198 


Bcrnirirs  f(uilvados) 
Interior  of  the  ('.liiirch 


199 


Lessay  (Mandie) 
South  Aisle  of  the  Church 


200 


Saint- Ma rtin-ilc-Boschcrvillc  (Sciiic-litfcricnrc) 
Saint-Gcorgcs,  X'icw  from  South  East 


201 


Ouistreham  (Calvados) 

Church,  Exterior,  West  Front 


202 


Caen  (Calvados) 
Saiiit-fiticnne,  View  from  the  West 


203 


204 


Caen  (Calvados) 
The  Interior  of  Saintc-lrinite 


205 


Jumieges  (Seine-Inferieure) 
Interior  of  the  Church 


206 


Bern  ay  (Eiirc) 
Church,  Capitals 


■N-  -■■■  ^T^^^H 

,  T*- 

>dH 

^^^■jyj^^^^^ 

*^H 

p^ 

-v^^^H 

t  "^  f  ^ 

'  <*i 

i" 

Beaumais  (Calvados) 
Church,  Capitol 


Angers  (Mainc-et-Loire) 
Church  of  the  Abbey  of  Roneeray,  Capital 


207 


rli 

iM  11  ;i 

Avesnieres  (Mayenne) 
Church,  Capitals  and  Bases 


208 


Saiiit-('illd(is-dc-Rhiiis  ( Morbiliaii) 
('Ininii.  liases 


209 


£  O 

V 


^10 


Baycitx  (Calvados) 
Cathedral.  Bas-niicf  in  the  Aisle 


Paris 

(imtest/ae  fmiii  the  .\hbey  of  Sainte-Cieiievieve  (the  Louvre) 


^     =5, 


^ 


212 


Rriiiis  (Ahinifj 
Saint-Rcmi,  Aisle,  View  from  the  Chaiici'l 


213 


Notn 


Moricnval  (Oisc) 
-Dame,  Vicii'  from  South  West 


214 


Miiriciivol  (Oisc) 
Notrc-Daiiir,  North  Aisle 


215 


216 


Moricnval  (Oiscj 
Notrc-Damc,  Capitals 


217 


Pa laiscau  ( Scin c-ct-Oise) 
Church.  Capitals 


218 


3 
u 


o 
O 


u 


o 
e 

c3 


219 


-i:  Cj 


::>'o 


220 


•prrT  "  "i 


5  ^ 


o  5 


221 


222 


Mantes  (Sclnc-ct-Oisc) 
CImnii,  I'ilastcrs  of  the  Centre  Door 


223 


(A)iiloiiibs  (Eurc-ct- Loire) 
Columns  front  the  Abbey  of  Coulombs,  (the  Louvre) 


224 


Tric-Chdicniix  ( < )iM') 
Church.   Detail  from  the  West   I'ortal 


225 


o 


226 


Gasslcourt  (Scinc-ct-Oisc) 
Church,  West  Portal 


227 


LIST  OF  ILLUSTRATIONS 


Agen  (Lot-et-Garonnc) 
Sain  t-Caprais ,  Apse.     12"'  century      .     .     .     103 

East  flu!  with  racliatiiijr  rlic»ir-cl»apcl.s  and  trnnscpt-anses, 
on  the  inod(-'I  of  tlie  Catht'dral  of  AnSfoiilOnic.  A  dome 
over  tlic  (.'rossing'  was  designed ,  but  not  carried  nvit. 
Gothic   nave. 

Airvault  (Deux-Sevres) 

Saint-Pierre,  Nartliex 59 

12"'  century. 

Barrel-vaulted  three-aisled  ehureh. 

Aix  (Bouches-du-Rhone) 

Cathedral     of     Saint  -  Sauveur,     Capitals 

and  Bases 31 

—  „   —     Pillars     and    Twin  -  Columns     of    the 
Cloisters.    12"i  century 32 

Angers  (Maine-et-Loire) 

Saint-Aubin,   Cloisters 27 

Church  of  the  Abbey  of  Ronceray,   Capital       .     206 

Angouleme  (Charente) 

Cathedral   of  Saint-Pierre,  West  Front  96 

—  „   —     Part  of  the  West  Front 97 

—  „  —     Apse 98 

—  „    —     Interior,  View  from   the   entrance        .  99 

—  „    —      Frieze   of  a   Window 100 

Griffin   from  the   Cathedral  (Museum)        .     .     .  100 
Cathedral    of   Saint- Pierre,    a   Tympanum 

of  the  Fa<;ade 101 

The  new  building  begun  early  in  the  12"'  century. 

Single  aisled  domed  church,  with  transept.  One  of  the 
richest  facades  of  the  West,  hadly  spoilt  hy  restoration. 

Aries  (Bouches-du-Rhone) 

Saint-Trophime,  West  Porch,   right  side       .  124 

—  „   -      West  Front 125 

—  „   —     Pillar  of  the   Cloisters 126 

—  „   — ■      Cloisters 127 

—  „   —     Cloisters 128 

—  „  —     Cloisters 129 

The  church  and  the  cloisters  before  1150.   Facade 
after  the   middle  of  the   12"'  century. 

Barrel-vaulted  hasilica.  The  fai,ade  resembling  the  central 
portion  of  that  of  Saint-Gilles,  and  showing  the  motive 
of  tlie  antique  triumphal  arch.  Notwithstanding  the 
strongly-marked  classicism  of  the  statues  they  reveal  the 
influence  of  the  figures  in  the  Porch  of  Chartres. 

Audrieu  (Calvados) 
Saint-Jean,  Norman  South  Porch  of  the  Church     193 

—  „   —     Apse  of  the  North  Transept     .      .     .     197 
Transept   12"'  century,    the  rest    of   the   church 

14"'  century. 

Thrce-ai.sled  flat-roofed  basilica  with  flat-roofed  transept 
with  apses.  The  lofty  tower  over  the  crossing  Romanesque 
in  the  lower  part.  South  porch  decorated  with  Norman 
ornament. 


Aulnay  (Ciiarentc-Iiifi'-ricurc) 
Saint-Pierre,   South   Front  of  the  Transept   .        12 

—  „   —     Window  of  the   Apse 13 

—  „   —     South  Transept,   Detail   of  the  F'orch        14 

—  „    —     South  Transept,   Detail  of  the  Porch        15 

West  Front,  Detail  of  the  South  Porch        1 6 
Barrel  -  vaulted    church    with    llirec    aisles,    and    tran.sept. 
West  and    south   [jorchcs   richly  decorated. 

Autun  (Saonc-et-Loirc) 
Cathedral    of    Saint-Lazarc,    West   Front, 

Tympanum   over   the   Central   Door    .      179 

„   —     Capital 180 

„    -     Capitals 181 

The    church    completed    in    1147.      The    portico 
commenced  in   1178. 

Barrel-vaulted  basilica  with  choir  ambulatory  and  chapels, 
founded  on  the  third  Cluniac  type.  'I  he  tym))anuni  of 
the  west  porch  containing  The  Last  Judgment  is  one  of 
the  masterpieces  of  Burgundian  sculpture. 

Auxerre  (Yonne) 

La  Prefecture,  formerly  the   bishop's  Palace      186 

Avallon  (Yonne) 

Saint-Lazare,  South  Side  Door 143 

„    —     Detail  of  the  South  Side   Door     .     .     144 
Second  half  of  the   12"'  century. 

The  fa<;ade  is  one  of  the  most  beautiful  examples  of 
Burgnndian   ornament. 

Avesnieres  (Mayenne) 
Church,   Capitals   and   Bases 207 

Bage-le-Chatel  (Aiii) 

Saint-Andre,   Belfry 138 

Bayeux  (Calvados) 
Cathedral,  Bas-relief 210 

Illustration  reproduces  relief  from  the  original  building. 
The  Church  begun  in  1087.  The  towers  from  1105  until 
about  1140.     The  re-building  begun  after  1159. 

Saint-Lou p,   from   North-east 196 

Beaulieu  (Correze) 
Church,  South  Porch 88 

Inspired  by  the  Porch  of  Moissac.  The  Tympanum  similar 
to  that  of  Moissac. 

Beaumais  (Calvados) 
Frieze  and  Corbels  on  the   Church     ....      194 
Church,  Capital 206 

Begadan  (Gironde) 
Church,  Apse,   12"'  century        25 

Bellegarde  (Loiret) 
Church,    West    Front,    Detail    of    the    Central 
Porch 145 

Bernay  (Eure) 

Church,   Capitals 206 

One  of  the  earliest  Cluniac  churches  in  Normandy,  founded 
in  1013—1019,  completed  in  1050.  (Compare  the  Intro- 
duction, Chapter  IV,  for  the  ground-plan.) 


>^ 


228 


P..Se 

Bernieres  (Calvados) 
Interior  of  the  Church 198 

A  three-aisled  basilica  with  a  transept  and  liex-partite 
vaults. 

Bordeaux  (Gironde) 
Sainte-Croix,  West  Front 95 

Bourges  (Cher) 
Cathedral    of  Saint-Etienne,    Detail    of  a 
Frieze 100 

Burlats  (Tarn) 
Hall  of  the  Castle 116 

One  of  the  few  mediaeval  castie-halls  in  France.  (Compare 
the  Introduction,  Chapter  XI.) 

Bussiere-Badil  (Dordogne) 
Church,  Nave,  View  from  the  Choir       ...        56 

Barrel-vaulted  three-aisled  church. 

Caen  (Calvados) 

Sainte-Trinite,   View  from   South  West   .      .     203 

—  „   —     Interior 204 

—  „   —     Capital 140 

1062-1072;    rebuilt  in  1140. 

Three-aisled  basilica  of  the  second  Cluniac  type;  (Compare 
the  Introduction.  Chapter  IV).  Originally  planned  for 
a  flat-roofed  church,  then  provided  with  hex-partite  cross- 
vaults. 

Saint-Etienne,  View  from   the  West    .      .  202 

Upper  part  of  the  fa<;ade  12"'  century.    Vaulting- 
of  the  nave,   1135. 

Three  aisled-basilica,  originally  of  the  second  Cluniac  type, 
provided  later  with  choir-ambulatory  and  chapels.  Origi- 
nally designed  for  a  flat  roof,  but  completed  with  hex- 
parttte  cross-vaults. 

Cahors  (Lot) 

Cathedral,  Porch 80 

Consecrated  in   1119,    the  porch  later. 

Domed  single-aisled  church ,  the  tympanum  of  the  Porch 
represents  Christ's  Ascension  and  scenes  from  the  life 
'if  S.   .Stephen.      Mature   Languedoc  sculpture. 

Carennac  (Lot) 

Church,   Tympanum   of   the   Porch         ....        89 
End   of  the    \2^^   century. 

The  Tympanum  represents  Christ  with  the  Apostles. 
Closely-ri-latcd  in   style  to  the  Cahors  porch. 

Cauroy  (Marne) 
The   Church    fro  71  the   South  West   ....     220 

La  Celle-Bruere  (Cher) 

East   end   iif  the   Church 51 

Barrel  vaulted  three-aisled  diurch.  Choir  with  auxiliary 
choirs  and  apses  in  the  transepts. 

Cellefrouin  (Charente) 
Lantern   of  the    Dead 60 

Chalais  (Charente) 
Church,  West  Front 53 

A   fine  facade,  the  lower    portion   like  that  at   Echillais. 

La  Charite-sur-Loire  (Nievre) 

Sainte-Croix,  Tower  and  Porch;   from  South 

East 170 

—  „     -      North   East  view 171 

—  „   —     Tower,  East   End 172 

—  „   —     Tower,  Detail 173 

—  „   —     Detail  of  the  South   Front    ....  174 

—  „   —     Detail  of  the  South   Front    ...  175 


La  Chante-sur-Loire  (Nievre) 
Sainte-Croix,  South   end  of  Choir,  Detail     .     176 

—  „   --     Apse 177 

—  „   —     Tympanum   of  a   Door 178 

About   1055-1107. 

Barrel-vaulted  basilica  of  the  tliird  Cluniac  type.  (Com- 
pare Introductions,  Chapters  IV  and  VII.)  The  introduction 
of  pointed  arches  in  the  choir  proves  that  this  form  occurs 
outside  the  Gothic  period.  The  Tympanum  belongs 
rather  to  the  Central  French  than  to  the  Burgundian 
school   of  sculpture. 

Charlieu  (Loire) 

Doorway   of  Narthex 149 

Church,   Capitals 181 

The  door  is  a  masterpiece  of  Brionnais  sculpture,  showing 
but  a  slight  connexion  with   ihat  of  Vezelay  and  Autun. 

Charroux  (Vienne) 
Abbey,    Octagonal  Tower 6 

—  „   —      Octagonal   Tower,  lower  part    ...  7 
About  1050. 

Centrally  planned  building  joined  to  a  nave.  The  outer 
ambulatory  is  destroyed;  a  tower  over  the   inner  dome. 

Chauriat  (Puy-de-D6me) 
Church,   South   Transept 70 

Auvergnate  type  of  church.  (Compare  the  Introduction, 
Chapter  V.)  Coloured  incrustation  similar  to  that  at 
Le  Puy. 


Chauvigny  (Vienne) 
Saint-Pierre,  Apse 

Barrel-vaulted  three-aisled  church, 
and  radiatinij   Chapels. 


Choir  with  ambulatory 


Cintheaux  (Calvados) 
Church,  Detail   of  the   South   Side      .... 

Three-aisled  columned  basilica,  with  a  flat-roofed  nave, 
rectangular  choir  and  Gothic  tower  over  the  crossing. 
Porch  and  encircling  blind  arcades  are  examples  of  the 
purest  Norman   style  of  decoration. 

Civray  (Vienne) 
Saint-Nicolas,  West  Porch 


from   the   Tribune 


Conques  (Aveyron) 
Sainte-Foy,   Apse    . 

—  „   —     Nave,  View 

—  „   —     West  Porch 

Church  designed  in  narrower  proportions,  on  the  pattern 
of  Saint  -  Scrnin  in  Toulouse,  Tlic  principal  Porch  with 
The  Last  Judgment  carved  on  it,  is  one  of  the  master- 
pieces of  the  Auvcrgnatc  school. 

Coulombs  (Eiiro-et-Loire) 
Pillars   from  the   Abbey  of  Coulombs   .... 

Now   in    the  Louvre,  Paris. 


50 


192 


55 


Barrel  -  vaulted  church  with  three  aisles.  Transept  with 
small  apses.  Fai^ade  one  of  the  most  magnificent  in 
Poitou. 

Clermont-Ferrand  (Puy-dc-Domc) 

No tre-Dame-du-Port,  South   Side 

—  „    —     Apse 

—  „   —      South   Door  of  West  Front   . 

—  „   —     Nave,  View  from  the   Choir 

Barrel -vaulted  church  with  three  aisles,  a  domed  towe 
over  the  elevated  crossing,  choir-ambulatory,  and  chapels 
Reconstructed  on  an  earlier  building,  that  must  liave  shown 
all  the  characteristics  of  the  Auvergnate  school.  South 
side-door  dates  only  from  the  end  of  the  12"'  century. 

Cognac  (Charente) 

Sai  n  t-Legf  e  r ,  West  Front,  Detail  of  the  Porch        81 

Single-aisled  domed  chun-h. 


64 
65 
66 

67 


76 
77 
78 


223 


229 


Courcome  (Cliarcnte) 

P..'.:. 

Fontfroide  (Aude) 

1  ■:,■■■ 

Church,   Nortli   Side 

21 

Abbey,   View  from  the  East 

33 

Barrel -v;iultcfl    single- aisk-d    fliiirrji,    wllli    tratisL-|>l,    anil 

An  adaptation  of  the  Southern  barrcl-vaullcd  church  with 

towt-T  DVLT  the  crossing. 

three  aisles. 

Cravant  (Indre-et-Loire) 

Fontgombault  (Indre) 

Pillars  from  the  Church 

VM 

C  b  u  rch     Choir 

165 

166 

„      -      We.st   Porch 

A  single- aisled    chiirelt.     The  nrnanient    of    Uie    siuifts    is 

very  archaic. 

Church  consecrated  in   1141. 

The  nave  destroyed.    Choir  with  ambulatory  and  radiating 

Creuilly  (Calvados) 

.hapels. 

Church,   Capitals 

218 

Gassicourt  (Seine-et-Oise) 

Church,  West  Porch 

Church   about   1150.     Choir   13"'  century. 

226 

Cruas  (Ardeche) 

Gensac  (Charentc) 

Church,  Capitals 

63 

Church,  View  from  South  West 

—    „   —     Nave,   from  the   Choir 

82 
83 

Cunault  (Maine-et-Loire) 

Twelfth  century. 

C  h  u  r  ch  ,   Apse 

17 

A    small   single  .lisled   dr.ined   church. 

Germigny-des-Pres  (Loiret) 

Barrel  -  vaulted  church    with  three  aisles.      Exterior  of  the 
choir  has  a  fine  blind   arcade. 

Church,   Nave,   View   from   the    entrance       .      . 

4 

Digne  (Basses-Alpes) 

Built  in  806. 

Notre-Dame -du-Bourg,    Nave,    View   from 

Greek  cross  with  a  clerestory  in  tower  over  the  crossing. 

the   entrance 

10 

Gournay  (Seine-Inferieure) 

Barrel-vaulted  single-aisled   church. 

Church,   Capitals 

209 

Echebrune  (Charente-Inferieure) 

Grisy  (Calvados) 

Church,  West  Front 

42 

AWaysideCross        

137 

A    two-storeyed    fa(;ade    with     a    lofty    blind    arcade    and 

massive  semi-circular  pediment. 

Issoire  (Puy-de-D6me) 

Echillais  (Charente-Inferieure) 

Saint-Paul,  Apse 

Of  the  pure  Auvergnate  type.     (Compare  the  Introduction. 

68 

Church,   West  Front 

43 

Chapter  V.) 

Barrel  -  vaulted  church    with    three    aisles.     The    facade    in 
remarkable  for  the  excellent   proportions:  the  ornament  is 

Jazeneuil  (Vienne) 

still   marked  by   a  certain  Celtic  rudeness   in  some  details. 

Church,   Detail  of  the  Apse 

26 

Ecoyeux  (Charente-Inferieure) 

Jumieges  (Seine-Inferieure) 

Church,   Apse   from   the  South 

24 

Church,   Interior 

205 

liasilua  of  the  second  Cluniac  type  with   triforium. 

Ecurat  (Charente-Inferieure) 

Leoncel  (Drome) 

Church,   West   Front,   Porch 

47 

Church,  Left  Aisle 

131 

Example  of  a  Proveni;al  barrel-vaulted   basilica  with  half- 

Elne  (Pyrenees-Orientales) 

barrels  in   the  side-aisles. 

Pillars  of  the  Cloister 

34 

Lescure  (Tarn) 

North   Cloister 

35 

Church,  West  Porch 

130 

An  adaptation    of  the  style    of    building-    of  tlie  St>uthern 

barrel-vaulted  church   with  three  aisles. 

Lessay  (Manche) 

Falaise  (Calvados) 

Church,   South   Aisle   from   West 

About   1130.     Consecrated   1178. 

199 

Saint-Gervais ,    Detail    of  the   Tower     .      .      . 

190 

Three  aisled  cioss-vaulted  basilica  of  the  second  Cluniac 

—    „    —      Windows  from  the  South-West.     Base 

type  with  tower  over  the  crossing.     (Compare  the  Inlro- 

of  the  Tower 

191 

ductio:;,    Chapter  IV.) 

Licheres  (Charentc) 

Nave  about  1050,  Tower  probably  about  1100. 

Transept  altered  later.     Choir   16"'  century. 

Church,  West  Porch 

147 

Three    aisled    basilica    with  transept.       A    beautiful    tower 

rising-     over    the    crossing.       The    blind    arcades    and    the 

Lyons  (Rhone) 

windows    of    the    tower    are    good    examples    of    Norman 
decoration. 

Saint-Martin-dAinay,  West  Front     .     .     . 
Original  building  954.     Rebuilt   1106-1113. 

28 

Fenioux  (Charente-Inferieure) 

Barrel  vaulted  church  with  three  aisles  and  eireular  apse. 

Lantern   of  the  Dead 

60 

The  tower  over  the  crossing  probably  inspired  by  Germigny- 

des-Pres.     The  fa<;ade  and  the  interior  much  restored. 

Figeac  (Lot) 

Cathedral,   Exterior  of  the    old    Choir   School 

187 

Saint-Sauveur,   Side  aisle,   South     .... 

58 

Maguelonne  (Herault) 

Originally  designed  as  a  barrel-vaulted  church   with   three 

Saint-Pierre,   West  Porch 

11 

aisles,  and   later  completed  internally  as  a   Gothic  churdi. 

Barrel-vaulted  single  aisled  church.     The  sculpture  in  the 
Porch  sliowing  the  influence  of  the  antique.     In  the  Tym- 

Fontevrault (Maine-et-Loire) 
Kitchen  called   „La  Tour  d'Evrault"      .... 

panum    Christ    in  the  mandorla    with  the  symbols    of  the 

197 

Evangelists,    on    either    side    of    the    doer    St.    Paul    and 
St.  Peter  kneeling.     The  frieze,  with  leaf-ornament  bearing 

Circular    construction  with    small    apses  within  which  the 

the  date  1178,    is.    however,    earlier    than  the  other    parts 

fire-places  are  built. 

of  the  porcll. 

230 


Page 

Page 

Maillezais  (Vendee) 

Neuvy-Saint-Sepulchre  (Indre) 

Church,   Detail   of  the  West  Front     .... 

45 

Church,   Interior 

5 

Founded    in    1045.     Upper   storey    about    1120. 

Maneglise  (Seine-Inferieure) 

Crowning-  portion  by  Viollet-le-Duc. 

Church,  South  Aisle 

188 

Central     plan.     The    earlier    individual    details    belong    to 

About  1150. 

the  group  of  Saint-Benoit-sur-Loire. 

Three  aisled  columnar  basilica.     Nave  with  wooden   barrel 

Nevers  (Nievre) 

vault  and  blind  arcade.     Side  aisles  flat-roofed. 

Saint-Etienne,  Apse,  View  from  the  East     . 
—   ^^   —     Nave 

153 

Le  Mans  (Sarthe) 
Cathedral,   Nave,   from  the  Entrance      .      . 

185 

154 

155 

—   "„   —      North   Side 

1097  to  1125;  after  a  fire,  .ebuilt  until  1158. 

St.  Michael,  in  the  Louvre,  Paris,  orig-inally  at 

Cross-vaulted    three  aisled  basilica  with    alternating  piers 
and  columns  and  triforium.     Gothic  choir. 

Nevers 

156 

Three    aisled    cruciform    basilica    with   triforium,    barrel- 

vaulted  nave,  cross. vaulted  side  aisles  and  choir  ambulatory 

Mantes  (Seine-et-Oise) 

with  radiating  chapels,  its  principal  features  following  the 

Church,   Pilasters  of  the   Central   Door  . 

222 

Auvergnate  type. 

About  1170. 

The    decoration    is    the    last    manifestation    of    classical 

Ouistreham  (Calvados) 

influence. 

Church,   Exterior,  West  Front 

About  1160.    The   Choir  13th  century. 

201 

Melle  (Deux-Sevres) 

Nave    with    hex -partite   vaulting.     The   fai;ade    is   one   of 

Saint-Hilaire,  North   Side  Aisle       .... 

54 

the   most  dignified   in  Normandy. 

Barrel-vaulted    church    with   three  aisles.     The  narrowness 

of  the  side  ai.sles  characteristic  of  the  Western  provinces. 

Oulchy-le-Chateau  (Aisne) 

Moissac     (Tarn-et-Garonne) 

Church      Camtals              

218 

^_^    I  i    t-I  i     V^i  I    ,         X-*  C4L/lLt*IO                     •                *                .               .                ■                •                •                •               •               • 

Saint-Pierre,   Porch   (1115-1135)      .... 

87 

—         ^—      Camtals                     

219 

,,                                    ^_'C&Ly  1 L  L4i.'                    •.....•..■ 

—   „    —     Porch,  left  side 

90 

The    Church    was    founded    in    1076.     The   nave   and    the 
tower  are  of  this  period.     Rebuilt    in  1169.     Three-aisled 

—    „   —      Porch,  rig-ht  side 

91 

basilica  with  transept  and   rectangular  choir. 

—   „    —     S.  Peter,  on  the  left  side  of  the  Door 

92 

—   „   ~     Cloisters 

94 

Palaiseau  (Seine-et-Oise) 
Church,   Capitals.     12"'  century 

The  column.s  of  the  Cloisters  have  reliefs  of  the  Apostles, 
and    some  of  the    capitals  representations  of  martyrs.     In 

217 

the  tympanum    of  the  Porch,  Christ  with   the  Evangelists 

and     the     twenty-four    Elders    of    the    Apocalypse.       On 
either  side  of  the    door,  S.  Peter  and    Isaiah.     In  the  side- 

Paray-le-Monial  (Saone-et-Loire) 

panels    Avarice    and   Extravagance    on   the  one  side,    and 

Church,  Nave,  from  the  entrance        .... 

167 

on     the    other    The    Annunciation,     The    Visitation,     The 

Adoration     of    the     Magi     and     The    Flight     into     Egypt. 

—   „   —     West  Front 

168 

A     masterpiece     of    Languedoc     sculpture,     of     the    early 
12"'  century. 

—   „   —      Transept  and  Apse,   from  the  North 

169 

About   1150,  the  portico  somewhat  earlier. 

Montmoreau  (Charente) 
Church,  North   Side 

A  church   of  the  third   Cluniac  type.     (Compare  the  Intro- 

20 

duction,   Chapters  IV  and  VII.) 

The    most    important    of   the  barrel  -  vaulted    single  aisled 
churches  of  Aquitaine,  with   a  transept,  and  a  tower  over 

Paris  (Seine) 

the  crossing. 

Grotesque  from  the  Abbey  of  Sainte-Genevieve 

(the   Louvre) 

210 

Montreal  (Yonne) 

12"'  century. 

Church,  West  Porch 

147 

Founded   1145. 

Parthenay-le-Vieux  (Deux-Sevres) 

Cistercian    Church.       Characteristically    simple    in    its    de- 

Church, West  Front,  North   Side 

44 

coration. 

12"'  century. 

Morienval  (Gise) 

Barrel -vaulted  church  with    three    aisles.     Facade    on  the 

mode!  of  Notre-Dame-la-Grande  at  Poitiers. 

Notre-Dame,   from  South  West 

213 

—  „   —     North  Aisle 

—  „   —     Nave,  from   the   Choir 

214 
215 

Perigueux  (Dordogne) 

—    „   —      Capitals 

216 

Saint-Etienne-de-la-Cite,     View     from 

South   East 

ll'l'  and  12"'  century. 

79 

About  1080.     The  choir  1122.     Transept   chapel 
1240. 

'T^l                       -     1        1       n      I                    r        1      1            '  1  '                    .T^i                1         '                                  ft 

A  domed  single-aisled  church,    consisting  of    two  square 

Three  aisled    flat -roofed   basilica.     The  choir    one    of    the 

hays;  the  exterior  has  a  simple  grandeur  of  effect. 

earliest  designs    of  the  transitional   period. 

Cathedral    of    Saint- Front,     Nave,    View 

Mouen  (Calvados) 

from   the   West 

104 

Church,   Detail   of   tjic   South   Side       .... 

194 

—     „             View   from   the   East 

105 

„    —      View   from    North   West 

195 

„            View  of  the   East  End 

106 

12t*>  century. 

After   1122. 

Single  aisled  church,  with  flat-roofed  nave  and  rectangular 

(ireek    cross,     with     nave    and     transept    both    tri- aisled. 

choir  with  cross-rib  vaulting.     A  tower  on   the  north  side. 

Domes    over    the    crossing    and    each    arm.     "There  is  no 

The    porch    and    the    blind    arcades    arc    decoiated    with 

architectonic  interior  in  the  whole  world,  that  can  approach 

typical  Norman  ornament. 

this  one  in  abstract  beauty."    Dehio  and  v.  Be/old  1.  337.) 

231 


Poitiers  (Vienne) 

r..«t 

Riviere  (Indre-et-Loire) 

l^if^C 

Notre  -  Dame  -  la  -  Grande  ,       View     from 

Church,  Capitals  and   i3ases 

150 

Soutli   West 

■M 

12"'  century. 

—    „      ~     Part  of  the   West  Front 

38 

—   „    -      Part  of  the  West  Front 

39 

Romans  (Drome) 

„            Tower 

40 

Saint-Bernard,   Detail   of  the  South  Porch    . 

The  sculpture   is  of  the  school   of  the  Master  of  the  north 

132 

After    1100. 

r*              1                iiii             1            'iiii                   '1                f^  1        '                111 

cloister    of   Saint-Trophirne    in    Aries.      The    four   figures 

barrcl-vaiilliMl    thurrh  with   three  aisles,     L  hoir  aiiihulatorv 
with    thapcls.      The    fa<:adr    after    WA'X      A    typical    Celt ie 

represent   S.  Peter,    S.  Paul,    S.  John  the  Evangelist,   and 
S.  James. 

building,    which   altliough   well    proportioned,   is  still  very 

much    overla<len    with    figure  -  decoration.      (Compare    the 
Introduction,  Chapter  XII.  for  the  .subject  of  the  dccoratinii). 

Ruffec  (Charente) 

Saint-Hilaire^  View   from   South   East 

111 

Church,   West   Front,   upper  part 

52 

—    „    —      Nave,   View  from   the  Choir       .      .      . 

112 

12"'  century. 

Completed   in   1049,   rebuilt  about   1100. 

The    facade    shows    a    strong    affinity    with    Notre-Dame- 
l;i-Grande    at    Poitiers.      Below    are    three  arcades,    above, 

It  was    originally    a    three  aisled   flat  -  roofed    hasiliea   with 

a   i.'-allcry   and   corner  towers. 

very  wide    aisles.      A  choir  wiih  ambulatory    and  chapels. 

At  the  rebuilding  it  was  transformed   into  a  seven-aisled 
design   with  domes  over  the  central   nave. 

Saint-Aignan-sur-Cher  (Loir-et-Cber) 

Church,  Capitals 

141 

Preuilly  (Indre-et-Loire) 

Choir  of  the  11*11  century.  Nave  of  the  12"' century. 

Church,  Nave,  View  from  the   entrance 

57 

Barrel-vaulted  choir    after  the   model    of  Saint-Bcnoit-sur- 

nth  century. 

Loire.    Cross-vaulted  nave.  The  capitals  in  the  illu.stration.i 
litlon'^r  t.i  (he  earlier  period. 

Barrtl-vaultetl   church   witli   three  aisles. 

Saint-Antonin  (Tarn-et-Garonne) 

Puissalicon  (Hcrault) 
Bell-Tower 

134 

Town- ii  all 

117 

Hall   of  the  Castle  of  1125,  now  the  Town-hall. 

ll"i  century. 

Saint-BenoTt-sur-Loire  (Loiret) 

Le  Puy  (Haute-Loire) 

Church,    View  from   South  East 

157 

Cathedral  of  Notre-Dame,    General    View 

107 

—   „   —     View  from  North  West 

158 

-  „   —     West  Front 

108 

—   „   —     Portico 

159 

—    „    --      Cloisters   of  the  Cathedral     .... 

110 

—   „   —     Interior  of  the  Portico 

160 

From  about   1050  to  about   1150. 

—   „   —     Ambulatory 

161 

Three-aisled  cruciform   basilica  with  domes  over  the  nave. 

—   „   —       Capitals 

162 

Commenced    with    choir   and  transept.    Facade    decorated 

—   „   -        Capitals  (1-5) 

163 

with  rich   incrustation. 

The  choir  1062-1103.    The  nave  vaulted   after 

Chapel  of  Saint-Michel  d'Aiguille,  Porch 

109 

1095.   The  portico,  beginning-  of  the  12"'  century. 

A  beautiful  specimen  of  Auvergnate  incrustation. 

The  choir  divided   into  two.     The  main  choir  barrel-vaulted 
and  over  a  crypt,    with  an  ambulatory  and  chapels.     The 

Quimperle  (Finistere) 

fore-choir  probably  barrel-vaulted  with  the  nave  after  the 
year  1095.    The  splendid  portico  is  not  uniform.    The  upper 

Sainte-Croix,  Nave,  View  from  the  entrance 

8 

-storey  later  than    the  lower  one.     When    this  church  was 

12th  century. 

designed  the  Burg-undian  custom  of  introducing  towers  in 

the  fat^ade  seems  to  have  been  already  abandoned. 

Centrally  planned. 

Saint-Bertrand-de-Comminges  (Haute-Garonne)       | 

Reims  (Marne) 

Cloisters 

114 

S  a  i  n  t  -  R  e  m  i ,   Capitals 

—   „   --     Nave,  View  from  the   Choir 

211 

Cloisters 

115 

212 

12"'  century. 

Originally    consecrated    in   852.      New    building 

The    figures    already    betray    the    influence    of    Provencal 

1005—1049.    Triforium  and  vaulting  of  the  12  th 

classicism. 

century.     Early  Gothic  choir. 

Saint-Denis  (Seine) 

The  dimensions  and  the  ground  floor  of  the  new  building 

of  1005    are   still   retained.     This  building,   a   three  aisled 

Crypt  of  the    Church 

225 

flat-roofed   basilica,  had  already  a  choir  ambulatory  with 

Begun   in   1140. 

chapels  on  the  model  of  Saint-Martin  at  Tours.   The  original 

quadrangular    piers    of    the    nave    were   altered,    and    the 

One    of    the    latest    large    crypts.     Analogous    to    that    of 

triforium  and  vaulting  added  later. 

Saint-Martin  at  Tours,    and  containg  an   ambulatory  with 
chapels.      Considering    the   position    Saint-Denis  takes  in 

Retaud  (Charente-Inferieure) 

the  development  of  the  Gothic  style,    this  portion  of  the 
building  is   relatively  of  slight  importance. 

C  h  u  r  ch ,  Apse 

19 

Saint-Die  (Vosges) 

12"'  century. 

The  choir  has  blind  arches  round  the  windows  and  a  beauti- 

Notre-Dame, Nave  seen  from  the  entrance    . 

139 

fully  proportioned    blind    arcade    with  Celtic  decorations. 

Three  aisled  cross-vaulted   basilica. 

Sainte-Trinite,   Capitals 

11"'  century. 

140 

Rioux  (Charente-Inferieure) 

Church,  Apse 

18 

12'h  century. 

Saint-Donat  (Drome) 

Smgle-aisled,  barrel-vaulted  church.     The  exterior  has  the 

Part  of  the   Cloister 

135 

characteristic  ordonnance  of  Atlantic  architecture:  tapering, 
rounded    buttresses,     richly    decorated    arches    round    the 

Part  of  the   Cloister 

135 

windows  and  in  the  blind  arcade. 

11"'  century. 

232 


Page 

Saint-Gaudens  (Haute-Garonne) 
Church,  Capital  of  a  Column  in  the  West  Porch      102 
12'h  century. 

Saint-Genou  (Indre) 

Church,  Interior  looking-  East 164 

End  of  the   11"'  century. 

The  choir  and  the  transept  alone  extant.  Closely  related 
to  Saint-Benoit-sur-Loire :  the  chevet  with  three  small  apses 
was  still  perhaps  inspired  by  the  second  Ctuniac  type. 

Saint-Gildas-de-Rhuis  (Morbihan) 

Church,   Bases 208 

1 1^''  century. 

Saint-Gilles  (Gard) 
Church,   West  Porch 119 

—  „   —     West  Front,  Detail  of  the  North  End     120 

—  „   —     West  Front,  Detail  of  the  South  End     121 

—  „    -      West  Front,   South   End 122 

—  „   —     Detail  of  the  West  Front     ....     123 
The  Crypt  begun  in   1116.     The  nave  vaulting 
completed  in  1261.   Facade  at  the  earliest,  middle 

of  the   12"'  century. 

Barrel-vaulted  basilica.  The  choir  with  an  ambulatory 
and  chapels.  The  main  feature  of  the  noted  fa(;ade  is 
the  union    of  three   portals  by  a  portico. 

Saint-Guilhem-du-Desert  (Herault) 

Ornament 136 

10'''  century. 

Saint- Jouin-de-Marnes  (Deux-Sevres) 
Church,   West  Front 36 

—  „    —      Saint  Peter    and    an    Apostle    on    the 

Facade 75 

12"'  century. 
Barrel  -  vaulted    church,    with   three   aisles,    and  a  stately 
facade,  very  finely  proportioned. 

Saint-Lizier  (Ariege) 

Cloisters 118 

12"'  century. 

Saint-Martin-de-Boscherville  (Seinc-Infcrieure) 
Saint-Georges.   View  from  South   East    .     .     200 
Probably  begun  after  1114,  completed  in    1157. 

Three  aisled,  flat  -  roofed  basilica  of  the  second  Cluniac 
type  with  choir- chapels.  (Compare  the  Introduction, 
Chapter  IV.) 

Saint-Martin-le-Beau  (Indre-et-Loire) 

Church,   West  Porch,   12"' century       ....     142 

Saint-Maurice  (Vienne) 

Church,   Apse 22 

—  „   —     North  Porch 23 

12"'  century. 

The    tower  over  the  crossing  unusually   m.assive. 

Saint-Michel  d'Entraigues  (Charente) 

Church,   from  North  West 1 

-   „  Interior        2 

Begun   in   1137. 

Octagonal  plan  with  apses.  The  modi  rn  vaulting  replaces 
that  of  an  earlier  period. 

Saint-Paul-de-Varax  (Ain) 

Church,  West  Porch 148 

An  example  of  the  classical  tendency  in  the  arrangement 
;ind   ',<ulpturts  of  the  f.tvadc  in    East   Central    France. 


Page 

Saint-Pierre-le-Moutier  (Nievre) 

Church,   Capitals 181 

12'h  century. 

Saint-Saturnin  (Puy-de-Donie) 

Chu    ch.   North   Side 69 

Church  of  the  Auvergnate  type  (compare  the  Introduction, 
Chapter  V),    but  without  tde  radiating  chapels. 

Saint-Savin-de-Lavedan  (Hautes-Pyrenees) 
Church,   Capitals 61 

—  „   —   Capitals 62 

12"'  century. 

Sainte-Marguerite  (Seine-lnferieure) 

Church,  Interior 189 

12"'  century,   enlarged  in  the   15"'  century. 

Saintes  (Charente-Inferieure) 
Saint-Eutrope,  Capital.     12"' century       .     .     180 

Salon  (Bouches-du-Rhone) 

Church,  Tympanum  of  the  Porch.    12"'  century     133 

Savennieres  (Maine-et-Loire) 

Church,   Apse 9 

11"'  century. 

Single  aisled  flat-roofed  church. 

Selles-sur-Cher  (Loir-et-Cher) 
Church,  Upper  Part  of  the  Apse 146 

An  example  of  classical  influence  in  the  sculptuie  of 
Central  France. 

Solignac  (Haute-Vienne) 
Church,   North   Transept 84 

—  „   —     Apse 85 

Consecrated   in   1143. 

A  domed  single- aisled  church  with  transepts;  of  clumsy 
and    heavy  proportions. 

Souillac  (Lot) 
Church,  Apse,  View   from  North   East    ...       86 

—  „     -     A  Prophet  in  the  Porch 93 

12"'  century. 

A  domed  single -aisled  church  with  transept,  lighter  and 
moie  elegant  than  Solignac. 

Surgeres  (Charente-Inferieure) 

Church,   West   Front,   North   Part 46 

12"'  century. 

Barrel  -  vaulted  chuich  with  three  aisles.  Celtic  facade. 
In  clarity  of  arrangement  and  proportion  inferior  to  those  of 
Notre- Dame- la  -  Grande  at  Poitiers,  and  Eehillais. 

Thil-Chatel  (Cote-d'Or) 
Church,   Capital   (6).      12"'  century       ....      163 

Toulouse  (Hautc-Garonnc) 

Saint-Se  rnin  ,   East    End 72 

—  „    —      Apse   from   South   East 73 

—  „  Capital 74 

The  choir  was  consccratt-d  in  10%,  the  nave  in  Ihc 
12'*'  century.  With  Saint-Remi  at  Retms  it  may  be, classed 
a.H  a  direct  copy  of  Saint-Martin  at  Tovirs.  Barrel-vaulted 
church  with  five  ai.sles ,  witli  triforiuni  and  Irl- aisled 
transept.  Choir  with  an  ambulatory  and  chapels.  Related 
to  the  Auverg'nDte  type,  though  it  lacks  the  elevation  of 
llie  central  transept  aisle.  Tower  over  the  crossing-  of 
.in    unusual   liciylit. 


233 


Toulouse  (Haute-Garonnc) 
Capitals   of  Twill -Columns    from   the   Abbey   of 
the  Daurade   (Museum  of  the  Aujfuslines)  74 

Cathedral,   Capital   of  a   Column         .  .  102 

Fig-ures     from     Annunciation     (Museum    of    the 

Augustines) 75 

About   1200. 

The  most  mature    wcirk   of   the  Languedne  School ;    com- 
parable to  that  of  Moissac  and  of  Beaiihcu. 

Tournus  (Saone-et-Loire) 
Saint-Philibert,   View   from   the   South  152 

11"'  century. 

Barrel  -  vaulted    three  -  aisled    basdica    with     cross  -  vaulted 
side  aisles. 

Trie-Chateaux  (Oise) 

Church,   Detail  of  the  West  Porch.    12"'  century      224 

Trois-Palis  (Charente) 
Church,  Tower.    12^"  century 41 

Tulle  (Correze) 

Saint-Martin,  Chapter-house 113 

About   1200. 

The  arrang-fment  of  the   interior    still  faithful    to    llie  Ro- 
manesque ideal.      Details  already   partly  Gothic. 

Urcel  (Aisne) 
Church,   Portico 221 

Vaison  (Vaucluse) 
Cloisters  of  the   Cathedral 29 

Capitals  in  the  Cloister 30 

11*1"  century. 

The  Cathedral   itself  is  a  barrel-vaulted  basilica  with  three 
aisles. 


r..ze 


Venasque  (Vaucluse) 

Baptistery,   interior,  9*'' century 

a[>se  and  dome  over  the  crosHin];,  partn 


(In 
of  , 


;k  cross,  with 

irlier  building   retained. 


Vence  (Alpcs-Marilimes) 
A   I'rag-mcnt   of  Sculpture. 


11  "'century     .     136 


Vezelay  (Yoiiiic) 
Sainte-Madclcine,   Capitals   and   Bases    .     .     182 

—  „   —     Porch  and  Interior 183 

—  „    —      South   Aisle,   looking   East     ....      184 
The  church  was  rebuilt  after  a  fire  in  1120.    The 
choir    dates    from    1198 — 1201,    the  tympanum 

of  the  porch   from   1132. 

Three  aisled  cross  -  vaulted  basilica.  Gothic  choir.  The 
tympanum  of  the  ])oreh  contains  The  Feast  of  Pentecost, 
one  of  the  masterpieces  of  Bur^undian  sculpture. 

Viennes  (Calvados) 

Church,   South   Porch 193 

11"'  century. 

Vignory  (Haute-Marne) 
Church,  Nave,  View  from  the   Entrance      .     .      151 
llth  century.     The  choir   about   1052. 

Flat- roofed  basilica  with  triforium.  The  dioir  is  barrel- 
vaulted. 

Vouvant  (Vendee) 
Church,   North  Transept,  Porch 48 

—  „   —     from  the  North  East 49 

12th  century. 

Barrel-vaulted  basilica  with  three  aisles  partly  cross-vaulted  ; 
a  transept  and  a  beautiful  tower  over  the  crossinjf.  The 
choir  terminates  with  three  apses.  The  finely  proportioned 
fa(,ade.s  of  the  transepts  are  noteworthy. 

Ydes  (Cantal) 

Church,   West   Front.     12"'  century      ....        71 


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